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Wilbur F. Tillett was born in Henderson, North Carolina, August 25, 1854, his father being 
a minister. He was educated at Randolph-Macon College (D.D., 1877), Princeton Theological 
Seminary (A. M., 1879); in i9°3 the degree of LL.D. was conferred on him by Southwestern 
University. He has served as pastor in the Methodist Episcopal Church, South, and 
held the position of adjunct professor of systematic theology in Vanderbilt University, 
in which institution he has been dean of the theological faculty and vice-chancellor since 
1886. Professor Tillett is the author of Our Hymns and Their Authors, Discussion in 
Theology, Personal Salvation — Studies in Christian Doctrine Pertaining to the Spiritual 
Life, The Doctrines of Methodism, and has also contributed largely to magazines and 
reviews. His address is Vanderbilt University, Nashville, Tennessee. 


8vo (5^x8^ inches); pages, xvi+499 and Ritual; binding, cloth. Price, 

net, $2.00. 

Every pastor in Methodism would do well to own this book. It is a cyclopedia 

of information on the hymns, hymn writers, and composers of the Church. Each 

hymn is printed in full with all facts of interest concerning its composition and 

history. Brief sketches of the authors and composers are also given. Besides 

the regular appendixes in the Methodist Hymnal, this book contains an index 

of subjects with suggested appropriate hymns, and a like index of Scripture texts. 

An invaluable aid to hymn study services. 










©rber of public Worship 

NOTE.— The Methodist Episcopal Church and the Methodist Episcopal Church, South, have adopted 
a Common Order of Worship as given below. 


Let all our services begin exactly at the time appointed, and let all our 
people kneel in silent prayer on entering the sanctuary. 

[I. VOLUNTARY, instrumental or vocal.] 


the people standing. 
[III. THE APOSTLES' CREED, recited by all, still standing.] 

I BELIEVE in God the Father Almighty, Maker of heaven and earth: 
And in Jesus Christ, his only Son our Lord; who was conceived by the 
Holy Ghost, born of the Virgin Mary; suffered under Pontius Pilate, was cruci- 
fied, dead, and buried ; the third day he rose again from the dead; he ascended into 
heaven, and sitteth at the right hand of God the Father Almighty ; from thence he 
shall come to judge the quick and the dead. 

I believe in the Holy Ghost ; the holy catholic Church, the communion of saints ; 
the forgiveness of sins ; the-resurrection of the body ; and the life everlasting. Amen. 

IV. PRAYER, concluding with the Lord's Prayer, repeated audibly by 
all, both minister and people kneeling. 



which, if from the Psalms, may be read responsively.* 











-•— •- 



Glo - ry be to the Fa- ther, and to the Son, and to the Ho - ly Ghost ; As it 




• » * •—*- 

was in the be-gin-ning, is now, and ev - er shall be, world without end. A -men, A -men. 



during or after which an offertory may be rendered. 


the people standing. 
XII. PRAYER, the people kneeling, f 


the people standing.! 


(2 Cor. 13. 14). 

* In the afternoon or evening the Lesson from the 01<i Testament may be omitted. 

t The order of praver and singing after sermon may *->e reversed. 

X An invitation to come to Christ or to unite with the Church should be given when this hymn is announced. 


%mna attu %mtt 





Sty? ifetljoitat %mnal 






Cincinnati: Jennings & Graham Nashville: Smith & Lamar 


Copyright, 1911, bt 
Eaton & Mains, Jennings & Graham, Smith & Lamar. 














"I will sing icith the spirit, and I will sing with the 
understanding also. (1 Cor. xiv. 15.) 

"Speaking to yourselves in psalms and hymns and 
spiritual songs, singing and making melody in your 
heart to the Lord; giving thanks always for all things 
unto God and the Father in the name of our Lord 
Jesus Christ." (Eph. v. 19, 20.) 


I am pleased to have a part in preparing a book for people interested in hymnody. 

The plan of the book is much the same as that followed in Hymn Studies, but 
this work is far more elaborate and valuable than that well-known book. The hymns 
are given in full, with careful criticism and historic notes. The book contains also 
biographical sketches of all the authors of hymns and composers of tunes. 

It is one of the duties of the pastor to be familiar with his Hymnal, and it is the 
privilege of the intelligent layman as well. This work contains many valuable facts 
and opinions, criticisms and approbations that can be found nowhere else. 

The Methodist Hymnal is a valuable book with a remarkable -history. Before the 
organization of the Methodist Episcopal Church several hymn books of Wesleyan 
origin were used in this country. Among these were Select Hymns, Hymns and 
Psalms, Redemption Hymns, and Mr. Wesley's first Pocket Hymn Book; but the 
Methodist people in America had no book in common. 

At the organization of the Methodist Episcopal Church, in 1784, A Collection of 
Psalms and Hymns for the Lord's Day was prepared for the new organization. It 
was printed in London in 1784, and came to America in sheets with the famous Sun- 
day Service. The "collection," however, contained only one hundred and eighteen 
selections, and was altogether inadequate to meet the needs of the growing Church. 

About 1790 a Pocket Hymn Book, printed in Philadelphia, appeared containing a 
pastoral letter to the "members and friends" of the Methodist Episcopal Church, and 
signed by Bishops Thomas Coke and Francis Asbury. It contained some three hun- 
dred hymns, and was sold for half a dollar. This book was essentially a reprint of 
a Pocket Hymn Book edited and published by Robert Spence, a Methodist class lead- 
er of York, England. All subsequent official hymn books of the Methodist Episcopal 
Church are enlargements and improvements of the Coke-Asbury book. 

The editorial work of preparing this annotated edition of the Methodist Hymnal 
has been very great, as can readily be seen. Dr. Wilbur Pisk Tillett, of Vanderbilt 
University, Methodist Episcopal Church, South, has been associated with me in this 
work, and much of the value of the book is due to his careful and painstaking labor. 

We send forth this work confidently hoping that it will be appreciated and praying 

that it may be of some use in advancing the kingdom of our Christ in the earth. 

Charles S. Nutter. 
4 Berwick Park, Boston. 



The Hymnal of the Church, in its religious and moral value to Christian believ- 
ers, is second only to one other book — the Bible. Those who sing "with the spirit 
and with the understanding also" cannot fail to appreciate the value of an edition of 
their Church hymnal which gives all desirable information concerning the hymns 
and their authors. The hymns found in the modern hymnals of the Christian 
Church are culled from the sacred poetry of all ages, and so rich and abundant is 
the material available that only the best lyrics of the best poets can find a perma- 
nent place in them. 

While hymns are selected mainly with reference to their use in public worship, 
a Church hymnal has value also as a book of private devotion for the closet and 
for hours of religious meditation. Those who read and study the hymns in private 
are the worshipers who derive most enjoyment and inspiration from the public 
service of song in the sanctuary. There is scarcely any phase of religious experi- 
ence that does not find faithful and happy expression in the Church hymnal. Ev- 
ery great and helpful hymn was born in the heart before it was born in the head, 
and it is only those hymns that come from the hearts of the writers that find a 
home in the hearts of others. The "hymns of the ages" were not written by the 
poets for mere pastime, but, as a rule, were born of experiences the deepest that 
human hearts are ever called to pass through. These great hymns have a spiritual 
origin, and many of them a deeply interesting history, to know which increases their 
value and our appreciation of them as aids to private devotion and public worship. 

The hymn book is one of the most effective agencies in the hands of the Chris- 
tian Church for the dissemination of truth among men, and the value of a hymnal as 
a book of Christian doctrine cannot easily be overestimated. "Let me write the songs 
of a people," said one, "and I care not who may write their laws — I will govern 
them." "Let me write the hymns of a Church," said another, "and I care not who 
may write its creeds and volumes of theology — I will determine its faith." If it be 
true that many get their theology more from the hymns they sing than from their 
Church creeds, the theology of our hymns is a matter to be considered not less than 
the theology of our creeds and confessions of faith, and the service of song be- 
comes scarcely less important than the preaching of the gospel as a mode of indoc- 
trinating men in Christian truth. Hymns performed a large and important service 
in the great reformation of both the sixteenth and the eighteenth centuries. In driv- 
ing out the errors and superstitions of his day and bringing in the evangelical 
truth of a purer faith, Martin Luther's hymns did for the masses of the people 



what his learned theses and powerful philippics did for scholars and theologians 
but could not have done for the people. Great as John Wesley was as a preacher 
of righteousness and an organizer of men, Methodism could never have accom- 
plished its marvelous work in "spreading scriptural holiness over these lands" had 
not our evangelical doctrines of sin and salvation, of free grace and unlimited atone- 
ment, of heart holiness and Christian love, been embodied in the matchless hymns 
of his gifted poet-brother, the sweet and saintly singer of our Methodism. The 
large and important place which music and song have taken in the great evan- 
gelistic movements of modern times also bears witness to the influence which hymns 
sung by the people have in determining the type of faith that prevails. Only hymns 
whose character and contents are in keeping with the true evangelical faith of a 
great Church are worthy of a place in a modern Christian hymnal. 

The hymns found in this volume follow the order in which they are found in the 
Methodist Hymnal. Under each hymn will be found a note containing the follow- 
ing facts so far as they could be obtained: (1) The original title given by the au- 
thor to the hymn; (2) the name and date of the book, magazine, or periodical in 
which it was first published; (3) the passage of scripture, if any, upon which it is 
based; (4) the changes made in the original text of the hymn; (5) all omitted 
stanzas, unless too numerous to quote; (6) any experience in the life of the author, 
or other circumstance, which led to the writing of the hymn or which gives peculiar 
significance to it; (7) any incident or illustration connected with the hymn or any 
use of it in Christian experience such as may add interest to the singing of it or give 
value to the use of it in social and revival meetings; (8) a brief critical estimate of 
the hymn is given in many cases, and in some cases an appreciation or "hymn 
study," involving a more or less extended analysis and study of the contents of the 
hymn; (9) all known facts concerning each hymn deemed of real value and interest 
by the writer of the note have been given; (10) hymn "myths" — that is, unaccred- 
ited stories about the origin of hymns — have, as a rule, been omitted, or if named it 
is only that they may be duly discredited. The notes have been made as brief as 
possible consistent with the effort to make them contain all of the facts above 

The "Biographical Index of Authors" which follows the hymns will be found to 
contain in alphabetical order brief historical sketches of all the hymn writers and 
translators whose productions find a place in the Hymnal. These sketches contain a 
simple statement of the leading facts, as far as known, in each author's life such as 
will give interest to the reading and singing of his hymns. This biographical sec- 
tion of the volume will be found especially serviceable to all who desire to make 
a study of the various hymn writers and their hymns, and without some such study 
there can be no real appreciation of our Christian singers and their songs. A brief 
course of study in the hymns and hymn writers of the Church would make the 


Hymnal a new book to many Christian worshipers and would invest the service of 
song with an interest and helpfulness that it never can possess without such study. 
No other book used so largely and so constantly by Christian people is studied so lit- 
tle by them as the Church hymnal. A study of these biographies will reveal the fact 
that the great singers of the Church have not been idlers who spent their days in 
retirement and meditation, but they were in most instances busy workers; and moct 
of their hymns were produced when their lives were full of toil and self-sacri- 
ficing service. It is the men who build and the soldiers who are winning victories 
that not only go forward to achievement and to conquest with songs upon their 
lips, but many of them, while they wrought and fought, themselves made these songs 
that sing of service and of victory. It would be difficult to bring together in one vol- 
ume three hundred and six nobler and more useful men and women than those who 
have written the hymns found in this Hymnal. It is a glorious company! Happy 
they who make their acquaintance and enjoy their fellowship! 

Following the "Biographical Index of Authors" we give an alphabetical "Index of 
the Composers" which will be found to contain under each name a few facts of special 
interest to musicians, singers, and others. A poem can never really become a hymn 
until it has a tune, and the popularity and power of many a hymn is due not 
less to the tune to which it is set than to its intrinsic literary and religious merits as 
a hymn. This being true, it follows that no study of the hymns and hymn writers can 
be altogether satisfactory and complete that is not coupled with- a study of the 
hymn-tunes and those who wrote them. For this section of our volume, however, 
we can only claim to have presented such facts as we could gather from the lim- 
ited sources of information at our command. Concerning some of the composers 
it has been impossible to get any trustworthy information. 

That many hundreds of volumes had to be consulted in order to make an anno- 
tated hymnal such as this is, will be manifest to every reader. The authors have in 
most instances had access to the original works of nearly all the poets whose hymns 
find a place in this collection; and for information they have, as a rule, gone directly 
to these original sources. But they have not failed to appreciate and avail them- 
selves of the many excellent works in hymnology recently published, without which 
the preparation of such a volume as this would have been impossible. These works 
are referred to and quoted from throughout the volume. The basis of this work is 
found in Hymn Studies (1884) by my colaborer, Dr. C. S. Nutter, and in the writer's 
volume titled Our Hymns and Their Authors (1889), these being annotated editions, 
respectively, of the former hymnals of the Methodist Episcopal Church and the 
Methodist Episcopal Church, South. By far the greatest contribution to modern 
English hymnology is the monumental work of Dr. John Julian, of England, titled 
A Dictionary of Hymnology. To it we are most deeply indebted. Other books of 
which we desire to make special and grateful mention are: The Methodist Hymn 


Book Illustrated, by Rev. John Telford; English Hymns, by Dr. Samuel W. Duffield; 
Annotations upon the Popular Hymns, by Dr. Charles S. Robinson. Readers who 
wish to make a more careful and extended study of hymnology and Church music will 
find the "Bibliography of Hymnology" (see page 470) helpful in many ways. 

This author desires to say in conclusion that the fellowship of Dr. Nutter and 
himself in the preparation of this volume has been most agreeable. While the en- 
tire volume is a joint publication, it may be of interest to some readers to know that 
the hymns were distributed evenly between the two authors for annotation, Dr. 
Nutter taking all the odd numbers (1, 3, 5, 7, and so on throughout the volume) and 
the writer taking the even numbers (2, 4, 6, 8, and so on throughout the volume). 
The reader will understand, therefore, that with but few exceptions the notes under 
the odd numbers were prepared by Dr. Nutter and those under the even numbers by 
the undersigned. Each author, however, in the writing of his notes, has had the 
benefit of a critical reading and suggestions from his colleague. The biographical 
sketches of hymn writers and other portions of the volume were prepared by the 
authors jointly in such a manner as to make it difficult, and in some instances im- 
possible, to distinguish the work of each. In the preparation of the "Index of Com- 
posers" Dr. Nutter has performed the larger service, while the undersigned author is 
more particularly responsible for the preparation of the "Index of Subjects," the 
"Index of Scripture Texts," and the "Bibliography of Hymnology." 

If the publication of this volume shall lead even a portion of the ministry and 
membership of the two Churches represented to a higher appreciation of their ex- 
cellent Hymnal and to a more intelligent and spiritual use of the hymns found there- 
in, the authors will feel that they are fully rewarded for the years of investigation 
and toil they have spent in collecting these facts concerning the hymns and hymn 
writers of the Church. WlLBUR p TlLLETT 

Vaxderbii.t University, 
August 1, 1911 


This Hymnal is the result of the labors of a joint Commission of twenty- 
two ministers and laymen appointed in equal numbers by the Methodist 
Episcopal Church and the Methodist Episcopal Church, South ; the double 
purpose being to provide a worthy manual of song for use in the public and 
private worship of Almighty God, and to testify to the world the essential 
unity of the two great branches of Episcopal Methodism. 

The fruit of their toil we now lay before the churches with confidence 
and joy : with confidence because we feel warranted in saying that the book 
is an admirable compilation of sacred lyrics ; and with joy because we trust 
that for many long years it will prove to be a visible and potent bond of union 
among all our people. 

We gladly note that the hymns of the Wesleys are given the' prominence 
which justly belongs to them in any collection to be used by Methodists. 
But the book will be found to contain also the choicest work of the other 
hymn writers of the eighteenth century, namely, Doddridge, Watts, Cowper, 
Newton, Montgomery, and a very considerable number of new hymns selected 
after a wide examination of the body of religious verse produced during the 
last seventy-five years. The hymns admitted have been selected from the 
ancient and modern treasuries of religious poetry. They are the expression 
of sound doctrine and healthful Christian experience, and it is believed will 
greatly enrich our worship and bring us into closer fellowship with believers 
in all lands and in all ages. 

Such verbal changes as have been made in the hymns are in most cases 
a return to the original and preferable forms. Some stanzas have been 
wholly excluded on the ground that they contain imagery offensive to modern 
taste, and others have been omitted to secure desirable brevity. The Com- 
mission did not venture to make arbitrary or capricious alterations. 

In only a very few cases have hymns been divorced from the tunes to 
which long use has wedded them. For some familiar hymns alternate tunes 



have been provided, either with a view to please both branches of the church 
or to secure a better musical expression for the words than is given by the 
tune now familiar. Many new tunes by the more eminent modern com- 
posers of church music have been introduced. Much care has been given to 
the selection of these tunes, which we are assured will be found to be devo- 
tional in spirit, well fitted to the hymns to which they are set, and adapted 
to use by the great congregation. 

And now, praying that this Hymnal, prepared by a joint Commission 
whose brotherly harmony was never once broken and whose final meeting 
was a Pentecost, may be abundantly blessed of God to the edification of 
believing souls and to the glory of his name, we commend it to our churches, 
and we earnestly hope that it may everywhere supplant those unauthorized 
publications which often teach what organized Methodism does not hold, 
and which, by excluding the nobler music of the earlier and later days, pre- 
vent the growth of a true musical taste. 

Your servants in Christ, 

Thomas Bowman, 

S. M. Merrill, 

E. G. Andrews, 

H. W. Warren, 
C. D. Foss, 
J. M. Walden, 
W. F. Mallalieu, 

C. H. Fowler, 
J. H. Vincent, 

J. N. FitzGerald, 
I. W. Joyce, 


C. C. McCabe, 

Earl Cranston, 

D. H. Moore, 

J. W. Hamilton, 
J. F. Berry, 
Henry Spellmeyer, 
\Y. F. McDowell, 
J. W. Bash ford, 
William Burt, 
L. B. Wilson, 
J. B. Neely, 

Bishops Methodist Episcopal 

J. C. Keener, 
A. W. Wilson, • 
J. C. Granbery, 
R. K. Hargrove, 
W. W. Duncan, 
C. B. Galloway, 
E. R. Hendrix, 
J. S. Key, 
O. P. Fitzgerald, 
W. A. Candler, 
H. C. Morrison, 
E. E. Hoss, 
A. C. Smith, 

Bishops Methodist Episcopal 
Church. South, 


In accordance with authority given by the General Conference of the 
Methodist Episcopal Church and the General Conference of the Methodist 
Episcopal Church, South, the Bishops of the respective churches appointed 
as members! of the Joint Commission for the preparation of a common 
Hymnal the following persons : 

Of the Methodist Episcopal 

Bishop D. A. Goodsell, 

S. F. Upham, 

C. M. Stuart, 

C. M. Cobern, 

R. J. Cooke, 

C. S. Nutter, 

W. A. Quayle, 

H. G. Jackson, 

C. W. Smith, 

C. T. Winchester, 

Of the Methodist Episcopal 
Church, South. 

Bishop E. E. Hoss, 
George B. Winton, 
H. M. Du Bose, 


Paul Whitehead, 
John M. Moore, 
Edwin Mims, 
H. N. Snyder, 
F. S. Parker, 
James Campbell, 
R. T. Kerlin. 

J, M. Black. 

On the recommendation of the above Joint Commission, Professor Karl P. 
Harrington, of the Wesleyan University, and Professor Peter C. Lutkin, of the North- 
western University, were appointed musical editors. 




Preface .' vii 

Introduction i x 

Bishops' Preface to the Hymnai X iii 

Historic Note xv 

Hymns Annotated 1-383 

Y/orship 1-42 

The Trinity 43-45 

The Father 46-60 

The Son 61-102 

The Holy Spirit 103-109 

The Holy Scriptures 110-113 

Institutions of Christianity 114-128 

The Gospel Call 129-159 

The Christian Life 160-296 

Time and Eternity 297-330 

Special Subjects and Occasions 331-372 

Doxologies 373-374 

Chants and Occasional Pieces 375-383 

Hymn Writers 385-451 

Composers of Tunes 452-469 

Bibliography of Hymnology 470 

Indexes 471-499 

Subjects 471-481 

Scripture Texts 482-486 

Tunes 487-489 

First Lines of Stanzas 490-493 

First Lines of Hymns ' 494-499 

First Lines of Chants and Occasional Pieces 499 

The Psalter 1-83 

The Ritual 85-97 

Baptism 85-88 

Reception of Members 88- 90 

The Lord's Supper 90-93 

Matrimony _ 93-94 

Burial of the Dead 94-97 





C. M. 

FOR a thousand tongues to sing 
My great Redeemer's praise, 
The glories of my God and King, 
The triumphs of his grace ! 

2 My gracious Master and my God, 

Assist me to proclaim, 
To spread through all the earth abroad, 
The honors of thy name. 

3 Jesus ! the name that charms our fears, 

That bids our sorrows cease ; 
'Tis music in the sinner's ears, 
'Tis life, and health, and peace. 

4 He breaks the power of canceled sin, 

He sets the prisoner free ; 
His blood can make the foulest clean ; 
His blood availed for me. 

5 He speaks, and, listening to his voice, 

New life the dead receive ; 
The mournful, broken hearts rejoice ; 
The humble poor believe. 

6 Hear him, ye deaf ; his praise, ye dumb, 

Your loosened tongues employ ; 
Ye blind, behold your Saviour come ; 
And leap, ye lame, for joy. 

Charles Wesley. 

This fine hymn has stood at the head 
of the Wesleyan Hymn Book since 1779, 
and has led the procession in the official 
book of the Methodist Episcopal Church 
from near its organization, in 1784. Its 
history is very interesting. 

The author's title was: "For the Anni- 
versary Day of One's Conversion.'" It 
was written in 1739 to celebrate the first 
anniversary of his spiritual birth, and 
was published in Hymns and Sacred 
Poems, 1740. 

Charles Wesley gives an account of his 
conversion in his Journal. He says: 

"Sunday, May 21, 1738. I waked in expec- 
tation of His coming. At nine my brother and 
some friends came and sang a hymn to the 
Holy Ghost. My comfort and hope were 
hereby increased. In about half an hour they 
went. I betook myself to prayer, the sub- 
stance as follows : 'O Jesus, thou hast said, 
"I will come unto you ;" thou hast said, "I 
will send the Comforter unto you ;" thou hast 
said, "My Father and I will come unto you, 
and make our abode with you." Thou art 
God, who canst not lie. I wholly rely upon 
thy most true promise : accomplish it in thy 
time and manner.' . . . Still I felt a vio- 
lent opposition and reluctance to believe, yet 
still the Spirit of God strove with my own 
and the evil spirit till by degrees he chased 
away the darkness of my unbelief. I found 
myself convinced, I knew not how nor when, 
and immediately fell to intercession." 

The anniversary poem contained eight- 
een stanzas, beginning: 

Glory to God, and praise, and love 
Be ever, ever given. 

The hymn is composed of verses 7 to 12, 
unaltered except for a single word. The 
author wrote the second line "My dear 
Redeemer's praise." This was changed by 
John Wesley to "My great Redeemer's 

The rapture and extravagance of the 
first verse are explained by the preceding 
stanzas, especially verses 2 and 5: 

2 On this glad day the glorious Sun 
Of Righteousness arose ; 
On my benighted soul he shone, 
And filled it with repose. 

5 I felt my Lord's atoning blood 
Close to my soul applied ; 
M e, me he loved — the Son of God ; 
For me, for me he died, 



2 6, 6, 4, 6, 6, 6, 4. 

COME, thou Almighty King, 
Help us thy name to sing, 
I I'll) us to praise ! 
Father all-glorious, 
O'er all victorious, 
Come, and reign over us, 
Ancient of days ! 

2 Come, thou Incarnate Word, 
Gird on thy mighty sword, 

Our prayer attend ; 
Come, and thy people bless, 
And give thy word success : 
Spirit of holiness, 

On us descend ! 

3 Come, Holy Comforter, 
Thy sacred witness bear 

In this glad hour. 
Thou who almighty art, 
Now rule in every heart, 
And ne'er from us depart, 

Spirit of power ! 

4 To the great One and Three 
Eternal praises be 

Hence, evermore : 
His sovereign majesty 
May we in glory see, 
And to eternity 

Love and adore ! 

Charles Wesley (?). 

The second stanza of the original hymn, 
omitted above, is: 

Jesus, our Lord, arise, 
Scatter our enemies. 

And make them fall : 
Let thine almighty aid 
Our sure defense be made, 
Our souls on thee be staid : 

Lord, hear our call ! 

This hymn is credited to Charles Wes- 
ley on very slight evidence that he is the 
author. While it has long been one of the 
most popular and widely used hymns 
among American Methodists, English 
Methodists, strangely enough, have never 
given it a place in any of their official 
hymnals. Although it is now universally 
sung to Giardini's tune known as "The 
Italian Hymn" (called "Moscow" in En- 
gland), it was written in the first instance 
to be sung to the familiar tune to which 
"God save the King" and "My country, 
'tis of thee" are sung. Indeed, it was 

not only written to be sung to the music 
of what has since become the national 
anthem of England, but the words were 
composed in evident imitation of that an- 
them, as will be seen at a glance by com- 
paring the omitted stanza, quoted above, 
with the second below: 

God save our gracious King, 
Long live our noble King, 

God save the King ! 
Send him victorious, 
Happy and glorious, 
Long to reign over us, 

God save the King ! 

O Lord our God, arise. 
Scatter his enemies. 

And make them fall. 
Frustrate their knavish tricks, 
Confound their politics ; 
On him our hearts we fix : 

God save the King ! 

Thy richest gifts in store, 
On him be pleased to pour ; 

Long may he reign ! 
May he defend our laws, 
And ever give us cause 
To sing with heart and voice, 

God save the King ! 

A brief history of the circumstances un- 
der which this national hymn originated 
will explain why in all probability the au- 
thor of the noble Christian lyric written 
in imitation of it chose to remain un- 
known. The first two stanzas of this na- 
tional anthem of England appeared as a 
song "For Two Voices" in a publication 
titled Harmonia Anglicana, which, though 
not dated, is supposed to have been pub- 
lished in 1743 or 1744. These stanzas are 
also known to have been in existence in 
Latin at that time and to have been used 
as a "Latin Chorus" in a concert given by 
the organist of the Chapel Royal in 1743 
or 1744. On September 28, 1745, this now 
famous English song is known to have 
been sung in Drury Lane Theater, Lon- 
don, in honor of King George, and a few 
days later at Covent Garden. At both 
places it awakened tumultuous applause. 
The following month (October, 1745) the 


music and words, "as sung in both play- 
houses," were published in the Gentle- 
man's Magazine, with the third stanza, 
given above, added. It was thus caught 
up and sung by everybody, and in due 
course of time, by virtue of its widespread 
popularity rather than by any official ac- 
tion, it came to be recognized as the na- 
tional hymn of England. So much con- 
cerning the origin of this national an- 

The late distinguished English hymnol- 
ogist, Daniel Sedgwick, was the first to 
attribute the hymn, "Come, thou Almighty 
King," to Charles Wesley. This he did 
partly on what he regarded as internal 
evidence and partly because its first ap- 
pearance was in an undated and anony- 
mous half-penny leaflet containing two 
hymns — this, which was there titled "An 
Hymn to the Trinity,'' and another hymn 
known to be by Charles Wesley, begin- 
ning, "Jesus, let thy pitying eye." As the 
other hymn was known to be by Charles 
Wesley, he inferred that this unknown 
hymn to the Trinity was also by him. In 
drawing this inference he has been fol- 
lowed, though not without considerable 
hesitation and uncertainty, by numerous 
editors of Church hymnals who have ac- 
credited it, as the editors of this Hymnal 
have here done, to Charles Wesley. 

As Charles Wesley never claimed this 
hymn, as it is not found in any of his pub- 
lished volumes, as neither he nor his 
brother John allude to it in any of their 
writings, and as it is in a meter that nei- 
ther of the brothers ever used, it is impos- 
sible for us to claim with any confidence 
whatever that Charles Wesley is its au- 
thor. We regret to be compelled to reach 
this conclusion; for we regard it as a tru- 
ly great hymn, which we should be glad 
to credit to the great singer of Methodism 
if we could feel at all justified in doing so. 

We think, however, that an obvious rea- 
son can be suggested why the author 

chose to remain unknown. When we re- 
member that this was not an original 
hymn, but something composed in unmis- 
takable imitation of a popular political 
song of the day which was then being 
sung in the theaters and on the streets 
and at political gatherings, and which had 
by no means won the place of honor that 
it now holds as a national anthem, we can 
easily see why the writer preferred to re- 
main unknown to the public. 

This noble and useful hymn is the most 
popular of all our hymns addressed to the 
Trinity. It is an ideal hymn for the be- 
ginning of a great Christian hymnal, as 
well as for opening public worship. The 
first verse is an invocation to God the Fa- 
ther to come and aid the congregation in 
worthily praising his name and also a 
prayer for him to "come and reign over 
us." The second verse is addressed to the 
Incarnate Word, and invokes his presence 
and blessing to give the prayer and the 
preached word success. The third stanza 
invokes the presence and sacred witness 
of the Holy Spirit; while the last stanza 
finds a fitting climax in ascribing praises 
to the Triune God. 

3 S. M. 

COME, sound his praise abroad, 
And hymns of glory sing - : 
Jehovah is the sovereign God, 
The universal King. 

2 He formed the deeps unknown ; 

He gave the seas their bound ; 
The watery worlds are all his own, 
And all the solid ground. 

3 Come, worship at his throne, 

Come, bow before the Lord ; 
We are his works, and not our own ; 
He formed us by his word. 

4 To-day attend his voice, 

Nor dare provoke his rod ; 
Come, like the people of his choice, 
And own your gracious God. 

Isaac Watts. 

Title, "A Psalm before Sermon." From 
The Psalms of David Imitated in the Lan- 


guage of the yew Testament. 1719. These 
are the first four stanzas unaltered. The 
last two are as follows: 

But if your ears refuse 

The language of his grace, 
And hearts grow hard like stubborn Jews, 

That unbelieving race ; 

The Lord in vengeance drest 
Will lift his hand and swear: 

'•You that despise my promised Rest 
Shall have no portion there." 

The hymn is complete without these 
stanzas, yet warnings are sometimes use- 

The poet James Montgomery said that 
"Dr. Watts may almost be called the in- 
ventor of hymns in our language." Com- 
pare this hymn with that part of Psalm 
xcv. on which it was written: 

O come, let us sing unto the Lord : let us 
make a joyful noise to the Rock of our salva- 

Let us come before his presence with 
thanksgiving, and make a joyful noise unto 
him with psalms. 

For the Lord is a great God, and a great 
King above all gods. 

In his hand are the deep places of the 
earth : the strength of the hills is his also. 

The sea is his, and he made it : and his 
hands formed the dry land. 

O come, let us worship and bow down : let 
us kneel before the Lord our maker. 

4 6, 6, 8, 4. D. 

TKE God of Abraham praise, 
Who reigns enthroned above ; 
Ancient of everlasting days, 

And God of love ; 
Jehovah, Great I AM, 

By earth and heaven confessed ; 
I bow and bless the sacred name, 
Forever blessed. 

2 The God of Abraham praise, 

At whose supreme command 
From earth I rise, and seek the joys 

At his right hand : 
I all on earth forsake, 

Its wisdom, fame, and power ; 
And him my only portion make, 

My shield and tower. 

3 He by himself hath sworn; 

I on his oath depend. 
I shall, on eagles' wings upborne, 

To heaven ascend ; 
I shall behold his face, 

I shall his power adore, 
And sing the wonders of his grace 

For evermore. 

4 The goodly land I see, 

With peace and plenty blessed ; 
A land of sacred liberty, 

And endless rest. 
There milk and honey flow. 

And oil and wine abound ; 
And trees of life forever grow, 

With mercy crowned. 

5 Before the great Three-One 

They all exulting stand, 
And tell the wonders he hath done 

Through all their land. 
The listening spheres attend, 

And swell the growing fame ; 
And sing, in songs which never end, 

The wondrous name. 

6 The whole triumphant host 

Give thanks to God on high ; 
"Hail, Father, Son, and Holy Ghost," 

They ever cry : 
Hail, Abraham's God and mine ! — 

I join the heavenly lays — 
All might and majesty are thine, 

And endless praise. 

Thomas Olivers. 

This remarkable hymn has a history of 
more than ordinary interest. It first ap- 
peared in a tract, without date, which is 
supposed to have been printed in 1770. 
The fourth edition bears the date of 1772. 
The title it bears is "J. Hymn to the God 
of Abraham, in three parts: Adapted to a 
celebrated Air, sung by the Priest, Signior 
Leoni, do, at the Jeics' Synagogue, in 
London-:' There are altogether twelve 
stanzas, four in each part. The omitted 
stanzas (the third, fifth, seventh, eighth, 
tenth, and eleventh) are of such literary 
value and such lofty poetic sentiment as 
to justify our reproducing them here: 

3 The God of Abraham praise, 
"Whose all-sufficient grace 
Shall guide me all my happy days 
In all his ways : 



He calls a worm his friend ! 

He calls himself my God ! 
And he shall save me to the end, 

Through Jesus' blood ! 

5 Though nature's strength decay, 

And earth and hell withstand, 
To Canaan's bounds I urge my way, 

At his command. 
The wat'ry deep I pass, 

"With Jesus in my view ; 
And through the howling wilderness 

My way pursue. 

7 There dwells the Lord our King, 

The Lord our Righteousness, 
Triumphant o'er the world and sin, 

The Prince of Peace ; 
On Zion's sacred height 

His kingdom still maintains ; 
And, glorious with his saints in light, 

Forever reigns. 

8 He keeps his own secure, 

He guards them by his side, 
Arrays in garments white and pure 

His spotless bride : 
With streams of sacred bliss, 

With groves of living joys, 
With all the fruits of paradise 

He still supplies. 

10 The God who reigns on high 

The great archangels sing, 
And "Holy, holy, holy," cry, 

"Almighty King ! 
Who was and is the same, 

And evermore shall be : 
Jehovah, Father, great I AM, 

We worship thee." 

11 Before the Saviour's face 

The ransomed nations bow : 
O'erwhelmed at his almighty grace, 

Forever new : 
He shows his prints of love — 

They kindle to a flame ! 
And sound through all the worlds above, 

The slaughtered Lamb. 

Very few hymns ever written have re- 
ceived higher praise from poets and stu- 
dents of hymnology than this superb 
Christian lyric. "There is not in our lan- 
guage," says James Montgomery, the poet, 
"a lyric of more majestic style, more ele- 
vated thought, or more glorious imagery. 
Its structure, indeed, is unattractive on 
account of the short lines; but, like a 

stately pile of architecture, severe and 
simple in design, it strikes less on the 
first view than after deliberate examina- 
tion." "This is probably," says the author 
of "Hymn Studies," "the finest ode in the 
English language; the theme is the grand- 
est possible, and the execution in keeping 
with it." Thomas Jackson refers to it as 
"one of the noblest hymns in existence. 
It will doubtless be sung by spiritual wor- 
shipers of every denomination with profit 
and delight as long as the English lan- 
guage is understood." It is referred to 
by Earl Selborne as "an ode of singular 
power and beauty." The hymn was writ- 
ten while the author (who was one of Mr. 
Wesley's preachers) was on a visit to 
John Bakewell, author of "Hail, thou once 
despised Jesus." At a service in the Jew- 
ish Synagogue at Westminster, London, 
he had heard Signior Leoni sing an old 
Hebrew melody, and was so delighted with 
it that he determined to write a Christian 
hymn that should be adapted to the tune. 
Upon returning to the house of his friend, 
he immediately wrote out this magnificent 
hymn. It is something of a paraphrase on 
the Hebrew doxology, which rehearses in 
poetic form the thirteen articles of the 
Jewish creed. Joseph Rhodes, the pre- 
centor at the Foundry, helped the author 
to adapt the music which he got from Le- 
oni to his needs and to arrange it in the 
form which it now bears in the tune 
which is very appropriately named "Le- 

Some facts in the author's life add to 
the value and interest of this hymn. He 
was left an orphan by the death of both 
parents when he was only four years of 
age. He fell as a waif into wicked hands, 
and by the time he was fifteen years old it 
was said that he was the worst boy that 
had lived in Montgomeryshire for thirty 
years. He was apprenticed to a shoemak- 
er, but was compelled because of his ex- 
cessive wickedness to leave the town. In 
a certain town he chanced to hear White- 


field preach on the text, "Is not this a 
brand plucked out of the fire?" He was 
deeply convicted and profoundly convert- 
ed. He is said to have fasted and prayed 
until his knees grew stiff. One of his first 
acts after his conversion was to return to 
Montgomeryshire and pay all his debts. 
He traveled from Shrewsbury to White- 
church, a distance of many miles, to pay 
a single sixpence. This done, he set out 
on foot (October 24, 1753) to join John 
Wesley in Cornwall. He bought a colt at 
Tiverton for five pounds, on the back of 
which he is said to have ridden a hun- 
dred thousand miles in his work as an 
itinerant preacher. He was associated 
with John Wesley for many years in more 
than ordinarily intimate relations; and 
when he died, eight years after the death 
of Wesley, he was buried in Wesley's 
grave at City Road Chapel. 

This hymn is associated with the name 
of Henry Martyn, the heroic missionary 
of sainted memory. On July 25, 1805, just 
as he was about to sail for India, he wrote 
as follows: 

I was much engaged at intervals in learn- 
ing the hymn, "The God of Abraham praise." 
As often as I could use the language of it 
with any truth, my heart was a little at ease. 
There was something peculiarly solemn and 
affecting to me in this hymn, and particularly 
at this time. The truth of the sentiments I 
knew well enough. But, alas ! I felt that the 
state of mind expressed in it was above mine 
at the time, and I felt loath to forsake all on 

The late Rev. T. M. Eddy, D.D., passing 
on one occasion through the streets of 
Baltimore, saw an aged and feeble colored 
man sawing some hard wood by the side 
of the road. Feeling that the colored 
man's lot was a hard one, as he contrast- 
ed his age and feebleness with the hard- 
ness of the work to be done, he turned 
and began to approach him, intending to 
speak a few kind and encouraging words 
of sympathy and of admonition concern- 
ing the state of his, perhaps, benighted 

soul. But drawing near, unobserved, he 
heard the old man singing softly but feel- 

The God of Abraham praise, 

Whose all-sufficient grace 
Shall guide me all my happy days 

In all his ways : 
He calls a worm his friend! 

He calls himself my God ! 
And he shall save me to the end, 

Through Jesus' blood ! 

The Doctor passed on without interrupt- 
ing him, saying: "He is rich; he is safe; 
he has a better Friend than I could be. He 
needs not my comfort. ■ I am the one that 
has received the needed encouragement." 

Richard Watson, the Methodist theolo- 
gian, found great comfort in this hymn 
during his last illness. One day, as the 
end drew near, he said he longed "to quit 
this little abode, gain the wide expanse of 
the skies, rise to nobler joys, and see 
God;" and then repeated the last four 
lines of this hymn: 

I shall behold his face, 

I shall his power adore, 
And sing the wonders of his grace 

For evermore. 

5 L. M. 

FROM all that dwell below the skies, 
Let the Creator's praise arise ; 
Let the Redeemer's name be sung, 
Through every land, by every tongue. 

2 Eternal are thy mercies, Lord ; 
Eternal truth attends thy word : 

Thy praise shall sound from shore to shore, 
Till suns shall rise and set no more. 

3 Your lofty themes, ye mortals, bring ; 
In songs of praise divinely sing; 
The great salvation loud proclaim, 
And shout for joy the Saviour's name. 

4 In every land begin the song; 
To every land the strains belong: 
In cheerful sounds all voices raise, 
And fill the world with loudest praise. 

Isaac Watts (in part). 

Unaltered, from The Psalms of David, 


Dr. Watts wrote the first two stanzas 
of this hymn from verses one and two of 
Psalm cxvii.: 

O praise the Lord, all ye nations : praise 
him, all ye people. 

For his merciful kindness is great toward 
us : and the truth of the Lord endureth for- 
ever. Praise ye the Lord. 

Wesley reprinted this hymn entire from 
the "York" Pocket Hymn Book. The au- 
thor of the last two stanzas is unknown. 
He has, however, succeeded wonderfully 
in imitating Watts's style and so complet- 
ed one of the finest hymns in the lan- 

The "York" Pocket Hymn Book was ed- 
ited and published by Robert Spence, a 
Methodist class leader and bookseller re- 
siding in York, England. So far as is 
known, the last two stanzas of this hymn 
first appeared in his book about 1781. 
Spence may have written these stanzas. 
John Wesley published this hymn in 1786 
as Spence printed it in 1781. This "York" 
book was very popular in its day, and was 
adopted by Bishops Coke and Asbury as 
the official hymn book of the Methodist 
Episcopal Church in America. 

6 L. M. 

BEFORE Jehovah's awful throne, 
Ye nations bow with sacred joy ; 
Know that the Lord is God alone, 
He can create, and he destroy. 

2 His sovereign power, without our aid, 

Made us of clay, and formed us men ; 
And when like wandering sheep we strayed, 
He brought us to his fold again. 

3 We'll crowd thy gates with thankful songs, 

High as the heavens our voices raise ; 
And earth, with her ten thousand tongues, 
Shall fill thy courts with sounding praise. 

4 Wide as the world is thy command ; 

Vast as eternity thy love ; 
Firm as a rock thy truth shall stand 
When rolling years shall cease to move. 
Isaac Watts. Alt. by John Wesley. 

This hymn first appeared in the au- 
thor's Horce Lyricw, 1706, and again, in 
somewhat altered form, in his Psalms of 

David Imitated in the Language of the 
New Testament, 1719. It is based on the 
hundredth Psalm: 

Make a joyful noise unto the Lord, all ye 

Serve the Lord with gladness : come before 
his presence with singing. 

Know ye that the Lord he is God : it is he 
that hath made us, and not we ourselves ; we 
are his people, and the sheep of his pasture. 

Enter into his gates with thanksgiving, and 
into his courts with praise : be thankful unto 
him, and bless his name. 

For the Lord is good ; his mercy is everlast- 
ing: and his truth endureth to all generations. 

As first published it was titled "Praise 
to the Lord from All Nations." The last 
stanza has remained unaltered from the 
beginning except that "must" in the third 
line has been changed to "shall." The 
first four stanzas were originally as fol- 
lows : 

1 Sing to the Lord with joyful voice ; 

Let every land his name adore ; 
The British isles shall send the noise 
Across the ocean to the shore. 

2 With gladness bow before his throne, 

And let his presence raise your joys ; 
Know that the Lord is God alone, 

And formed our souls, and framed our 

3 Infinite Power without our aid 

Figured our clay to human mould ; 
And when our wandering feet had strayed, 
He brought us to his sacred fold. 

4 Enter his gates with thankful songs, 

Through his wide courts your voices 
raise ; 
Almighty God, our joyful tongues 

Shall fill thine house with sounding 

When Watts republished this hymn in 
1719, the first two lines of verse two had 
been changed to read as follows: 

Nations attend before his throne 
With solemn fear, with sacred joy. 

In verse three "Infinite Power" had been 
changed to "His sovereign power," and 
verse four had been substituted by the 


4 We are his people, we his care, 

Our souls and all our mortal frame: 
What lasting honors shall we re q r, 
Almighty Maker, to thy name? 

The form of the hymn given in our 
Hymnal and now found in all hymnals is 
John Wesley's improvement upon Watts. 
By discarding the first verse and changing 
entirely the first two lines of the second 
verse and improving the fourth stanza as 
Watts first wrote it, John Wesley succeed- 
ed in making a useful and popular hymn 
of it. 

If any one desires to prove by example 
as well as by argument the wisdom of al- 
lowing judicious editors to alter and im- 
prove the original words of the authors 
when this is called for, hereby rendering 
a real service to the authors themselves, 
let him make use of this hymn, which 
would never have found a place, and, least 
of all, a place of high esteem, in the great , 
hymnals of the Church but for the fact I 
that the original was abridged and other- 
wise altered by John Wesley. 

The hymn as thus altered by Wesley ap- 
peared in his first Collection of Psalms 
and Hymns, published in 1737 at Charles- 
ton, S. C, while he was a missionary in 

The moral significance and far-reaching 
importance of the visit of Commodore 
Perry to Japan in 1853-54 is well known. 
It is said that while his flagship lay an- 
chored off the coast of Japan, in close 
proximity to the shore, on a certain Sab- 
bath religious services were held on board 
the steamer, and this hymn was used in 
the worship, the naval band playing as an 
accompaniment the tune of "Old Hun- 1 
dred," while thousands who lined the 
shore listened in impressive silence to 
what was to them new and strange music. 

It is narrated that when Dr. Dempster, 
of Garrett Biblical Institute, was on his 
way, with his wife and two brother mis- 
sionaries, to South Africa, they were pur- 

sued for three days by a pirate vessel, and 
it seemed that they would have to surren- 
der. They spent no little time in prayer 
to the "wondrous Sovereign of the sea" 
to rescue them from the hands of their 
pursuers. On the third day, just after 
they had joined in prayer and in singing 
this hymn, the pirate ship was seen to 
change its course, thus leaving them to 
pursue undisturbed their errand of mercy 
to the Dark Continent. It is not strange 
that this hymn should have remained ever 
thereafter associated in grateful remem- 
brance with their providential escape from 
robbery and possibly from death. 

7 L. M. 

JESUS, thou everlasting King, 
Accept the tribute which we bring ; 
Accept thy well-deserved renown, 
And wear our praises as thy crown. 

2 Let every act of worship be 
Like our espousals, Lord, to thee ; 
Like the blest hour, when from above 
We first received the pledge of love. 

3 The gladness of that happy day, 
O may it ever, ever stay ! 

Nor let our faith forsake its hold, 
Nor hope decline, nor love grow cold. 

4 Let every moment, as it flies, 
Increase thy praise, improve our joys, 
Till we are raised to sing thy name, 
At the great supper of the Lamb. 

Isaac Watts. 

Author's title: "The Coronation of 
Christ and Espousals of the Church.'" The 
Scripture basis is Song of Solomon iii. 2: 
"I will seek him whom my soul loveth." 

This hymn has been altered in several 
lines and doubtless improved, yet the 
merits of the piece belong to Dr. Watts. 
Like several of this author's best hymns, 
it is a prayer-song directly addressed to 
Jesus. It has had a long career of use- 
fulness. The first and last stanzas of the 
original are here omitted. From Hymns 
and Spiritual Songs, Book I., 1709. 




C. M. 

OW great the wisdom, power, and grace, 

Which in redemption shine ! 
The heavenly host with joy confess 

The work is all divine. 

2 Before his feet they cast their crowns, 

Those crowns which Jesus gave, 
And, with ten thousand thousand tongues, 
Proclaim his power to save. 

3 They tell the triumphs of his cross, 

The sufferings which he bore ; 
How low he stooped, how high he rose, 
And rose to stoop no more. 

4 "With them let us our voices raise, 

And still the song renew ; 
Salvation well deserves the praise 
Of men and angels too. 

Benjamin Beddome. 

"The Wonders of Redemption"' is the 
title which this hymn bears in the au- 
thor's Hymns Adapted to Public Worship 
or Family Devotion, 1817. It is regarded 
by many as Beddome's finest hymn. It is 
based on Hebrews i. 6: "Again when he 
bringeth in the first-begotten into the 
world, he saith, And let all the angels of 
God worship him." 

The author wrote in verse one, line 
three, "Angels and men with joy confess;" 
verse two, line one, "Beneath his feet they 
cast their crowns;" verse four, lines one 
and two: 

O let them still their voices raise 
And still their song renew. 

Two inferior stanzas, the second and 
third, are omitted. 

9 8, 8, 6. D. 

LET all on earth their voices raise, 
To sing the great Jehovah's praise, 
And bless his holy name : 
His glory let the heathen know, 
His wonders to the nations show, 
His saving grace proclaim. 

2 He framed the globe, he built the sky ; 
He made the shining worlds on high, 

And reigns in glory there : 
His beams are majesty and light ; 
His beauties, how divinely bright ! 

His dwelling place, how fair ! 

3 Come the great day, the glorious hour, 
When earth shall feel his saving power, 

All nations fear his name : 
Then shall the race of men confess 
The beauty of his holiness, 
His saving grace proclaim. 

Isaac Watts. 

This grand old hymn of praise is a 
metrical version of Psalm xcvi., "O sing 
unto the Lord a new song: sing unto the 
Lord all the earth," etc. It has been al- 
tered to change the meter, and one stan- 
za omitted. We give the hymn as the 
author published it in 1719, with the title, 
"The God of the Gentiles." 

1 Let all the earth their voices raise 
To sing the choicest psalm of praise, 

To sing and bless Jehovah's name : 
His glory let the heathens know, 
His wonders to the nations show, 

And all his saving works proclaim. 

2 The heathens know thy glory, Lord ; 
The wond'ring nations read thy Word, 

In Britain is Jehovah known: 
Our worship shall no more be paid 
To gods which mortal hands have made ; 

Our Maker is our God alone. 

3 He framed the globe, he built the sky ; 
He made the shining worlds on high, 

And reigns compleat in glory there : 
His beams are majesty and light ; 
His beauties, how divinely bright ! 

His temple, how divinely fair ! 

4 Come the great day, the glorious hour, 
When earth shall feel his saving power, 

And barbarous nations fear his name ; 
f'hen shall the race of man confess 
The beauty of his holiness, 

And in his courts his grace proclaim. 

10 L. M. 61. 

INFINITE God, to thee we raise 
Our hearts in solemn songs of praise ; 
By all thy works on earth adored, 
We worship thee, the common Lord ; 
The everlasting Father own, 
And bow our souls before thy throne. 

2 Thee all the choir of angels sings, 
The Lord of hosts, the King of kings ; 
Cherubs proclaim thy praise aloud, 
And seraphs shout the Triune God ; 
And "Holy, holy, holy," cry, 
"Thy glory rills both earth and sky." 



;; Father of endless majesty, 

All might and love we render thee ; 
Thy true and only Son adore, 
The same In dignity and power; 
And God the Holy Ghost declare, 
The saints' eternal Comforter. 

Charles Wesley. 

From a metrical paraphrase of four- 
teen stanzas on the Te Deum Laudamus 
in the author's Hymns for Those that 
Seek and Those that Have Redemption in 
the Blood of Jesus Christ. London, 1747. 
These are the first, second, and fifth stan- 
zas. The author wrote "the" instead of 
"thy" in the last line of verse one. 
"Among metrical versions of the Te 
Deum," says Rev. F. W. Macdonald, "there 
is none superior to Charles Wesley's — 
hardly any other, indeed, which has taken 
or retains hold on Christian congrega- 
tions." (See No. 729.) 

11 10, 10, 11, 11. 

YE servants of God, your Master proclaim, 
And publish abroad his wonderful name ; 
The name all-victorious of Jesus extol ; 
His kingdom is glorious, and rules over all. 

2 God ruleth on high, almighty to save ; 
And still he is nigh, his presence we have : 
The great congregation his triumph shall 

Ascribing salvation to Jesus, our King. 

2 "Salvation to God, who sits on the throne," 
Let all cry aloud, and honor the Son : 
The praises of Jesus the angels proclaim, 
Fall down on their faces, and worship the 

4 Then let us adore, and give him his right, 
All glory and power, all wisdom and might, 
All honor and blessing, with angels above, 
And thanks never ceasing for infinite love. 
Charles Wesley. 

Title: "To be Sung in a Tumult:' Two 
stanzas, the second and third of the orig- 
inal, are omitted: 

The waves of the sea Have lift up their voice, 
Sore troubled that we In Jesus rejoice ; 
The floods they are roaring, But Jesus is here, 
While we are adoring He always is near. 

When devils engage, The billows arise, 
And horribly rage, And threaten the skies: 
Their fury shall never Our steadfastness 

The weakest believer Is built on a rock." 

Verse three, line three, the author 
wrote, "Our Jesus's praises" etc. 

The year 1744 was a time of great op- 
position to, and persecution of, the Meth- 
odists in England. The country was at 
war with France. An invasion for the 
purpose of dethroning George II. and 
crowning the exiled representative of the 
House of Stuart was expected. The Meth- 
odists were represented as Papists in dis- 
guise, working for the Pretender. Their 
meetings were broken up by mobs, and 
many of their preachers were impressed 
into the army. Even the Wesleys were 
brought before the magistrates for exam- 
ination. In the midst of these persecu- 
tions they published a pamphlet contain- 
ing thirty-three pieces and entitled Hymns 
for Times of Trouble and Persecution, 
1744. This hymn was first published in 
that pamphlet. 


L. M. 

THOU to whom, in ancient time, 
The lyre of Hebrew bards was strung, 
When kings adored in song sublime, 
And prophets praised with glowing 
tongue ; 

2 Not now on Zion's height alone 

The favored worshiper may dwell ; 
Not where, at sultry noon, thy Son 
Sat weary by the patriarch's well. 

3 From every place below the skies, 

The grateful song, the fervent prayer, 
The incense of the heart, may rise 
To heaven, and find acceptance there. 

4 O Thou to whom, in ancient tim3, 

The lyre of prophet bards was strung, 
To thee at last, in every clime, 

Shall temples rise and praise be sung. 
John Pierpont. 

"Universal Worship" is the title which 
this hymn bears in the author's Poems 
and Hymns, 1840. It was written for the 
opening of the Independent Congregation- 



al Church in Barton Square, Salem, Mass., 
December 7, 1824, and was printed at the 
close of the sermon preached by Rev. 
Henry Colman on that day. The senti- 
ment of verses two and three seems to 
have been inspired by Christ's conversa- 
tion with the woman of Samaria at the 
well. (John iv. 21-23.) Two stanzas are 


L. M. 

THOU, whom all thy saints adore, 
We now with all thy saints agree, 
And bow our inmost souls before 
Thy glorious, awful Majesty. 

2 We come, great God, to seek thy face, 

And for thy loving-kindness wait ; 
And O how dreadful is this place ! 

'Tis God's own house, 'tis heaven's gate. 

3 Tremble our hearts to find thee nigh ; 

To thee our trembling hearts aspire ; 
And lo ! we see descend from high 
The pillar and the flame of fire. 

4 Still let it on the assembly stay, 

And all the house with glory fill ; 
To Canaan's bounds point out the way, 
And lead us to thy holy hill. 

5 There let us all with Jesus stand, 

And join the general church above, 
And take our seats at thy right hand, 
And sing thine everlasting love. 

Charles Wesley. 

This fine old hymn is full of the spirit 
of worship. The author's title is "Enter- 
ing into the Congregation." Two stan- 
zas, the second and seventh, are omitted: 

Thee, King of nations, we proclaim: 

Who would not our great Sovereign fear? 

We long to experience all Thy name, 
And now we come to meet Thee here. 

Come, Lord, our souls are on the wing, 
Now on Thy great white throne appear, 

And let my eyes behold my King, 
And let me see my Saviour there." 

Taken, unaltered, from Hymns and Sa- 
cred Poems. . By John and Charles Wes- 
ley, 1742. 


L. M. 

TO thee, Eternal Soul, be praise ! 
Who from of old to our own days, 
Through souls of saints and prophets, Lord, 
Hast sent thy light, thy love, thy word. 

2 We thank thee for each mighty one 
Through whom thy living Light hath shone ; 
And for each humble soul and sweet 

That lights to heaven our wandering feet. 

3 We thank thee for the love divine 
Made real in every saint of thine ; 
That boundless love itself that gives 
In service to each soul that lives. 

4 We thank thee for the word of might 
Thy Spirit spake in darkest night, 
Spake through the trumpet voices loud 
Of prophets at thy throne who bowed. 

5 Eternal Soul, our souls keep pure, 
That like thy saints we may endure ; 
Forever through thy servants, Lord, 
Send thou thy light, thy love, thy word. 

Richard W. Gilder. 

This hymn was contributed by special 
request to the Methodist Hymnal, 1905, 
and was published in this volume for the 
first time. The author titled it a "Thanks- 
giving Hymn." He died just before 
Thanksgiving Day, 1909. 

A letter addressed to Mr. Gilder, ex- 
pressing high appreciation of this hymn 
and inquiring concerning its origin, called 
forth the following reply, dated Four 
Brooks Farm, Tyringham, Mass., August 
23, 1907: 


I am very much surprised and touched that 
you should write as you have of the Thanks- 
giving hymn. In answer to your inquiries 
I would say that it was inspired by the same 
event as the Wesleyan poem. I had begun it 
before reaching Middletown to take part in 
the exercises there — and would have finished 
it there had I not been so occupied with oth- 
er matters — and I did not, of course, wish to 
force it, so to speak. When, soon after, it 
was completed, I showed it to Professor Win- 
chester, at whose house I had stayed ; and, as 
you know, he asked to lay it before your 
committee. I think some other Hymnal has 
since used it (one for schools), and it will 
appear in my book, "The Fire Divine/' now 
going through the press. So you see it had 
a Methodist origin, as Wesley was in my 



mind, and it was first printed in the new 
Methodist Hymnal. 

The celebration at Wesleyan Universi- 
ty, Middletown, Conn., to which the au- 
thor makes allusion, was held in June, 

We have here a hymn of lofty religious 
sentiment and of striking poetic beauty, 
and characterized withal by more than 
ordinary strength and dignity of thought. 
In no other hymn in our Hymnal is the 
Divine Being addressed as the eternal 
"Soul." This was objected to at first by 
some members of the Commission who 
were compiling the Hymnal because it 
was thought that such a title of Deity 
would lend itself too easily to a Pantheis- 
tic conception of God's relation to the 
world; but, upon closer examination and 
study, it was seen that the hymn not only 
taught but strongly emphasized the per- 
sonality of Deity. The infinite Soul is 
here related in the most personal and vi- 
tal manner to our finite souls. 

Note how artistically the poet devel- 
ops here the devotional thoughts that are 
contained in the three words found in the 
last line of the first stanza — "light," 
"love," and "word." The second, third, 
and fourth stanzas, respectively, are de- 
voted to developing these three thoughts, 
the hymn here taking the form of thanks- 
giving to God for his gracious gift of 
lig*ht and love and the word of might. 
The fifth and last stanza brings together 
with rare poetic skill from verse one the 
infinite Soul and finite souls, and from 
verses two, three, and four the light, the 
love, and the word of God. Note also how 
beautifully and impressively verse two 
brings out the idea that God gives his 
light not only to the "mighty one," but 
to the "humble soul and sweet;" and this 
he does that all enlightened souls, how- 
ever humble, may become lights to others, 
guiding their wandering feet to heaven. 
Verse three teaches no less beautifully 
and impressively the truth that whenever 

the divine love has been "made real" in 
the soul of a believer it will show itself, 
not in seeking selfish enjoyment, but in 
loving service to one's fellow-man. Fi- 
nite souls that are true and pure become 
the channels through whom the infinite 
and eternal Soul sends his own divine 
light and love and word to those whose 
lives are darkened by ignorance and sin. 
Taking the form, in verses two, three, and 
four, of thanksgiving for blessings past 
and present, in the closing stanza it takes 
the form of a prayer for purity of soul 
and for the evangelization of the world 
through the spread of the light and love 
and word of God. 

There is every reason to believe that 
this hymn will take a high and permanent 
place among the really useful hymns of 
the Christian Church. 

The most frequently quoted lines that 
Dr. Gilder ever wrote are the verses ti- 
tled "The Song of a Heathen Sojourning 
in Galilee, A.D. 82:" 

If Jesus Christ is a man, — 

And only a man, — I say 
That of all mankind I cleave to him, 

And to will I cleave alway. 

If Jesus Christ is a God, — 

And the only God, — I swear 
I will follow him through heaven and hell, 

The earth, the sea and the 


L. M. D. 

GOD of God ! O Light of Light ! 
Thou Prince of Peace, thou King of 
To thee, where angels know no night, 

The song of praise forever rings : 
To him who sits upon the throne, 

The Lamb once slain for sinful men, 
Be honor, might ; all by him won ; 
Glory and praise ! Amen, Amen ! 

Deep in the prophets' sacred page, 

Grand in the poets' winged word, 
Slowly in type, from age to age, 

Nations beheld their coming Lord ; 
Till through the deep Judean night 

Rang out the song, "Good will to men !" 
Hymned by the firstborn sons of light, 

Reechoed now, "Good will!" Amen! 



3' That life of truth, those deeds of love, 

That death of pain, 'mid hate and scorn ; 
These all are past, and now above, 

He reigns our King ! once crowned with 
"Lift up your heads, ye heavenly gates;" 

So sang his hosts, unheard by men ; 
"Lift up your heads, for you he waits." 
"We lift them up ! Amen, Amen !" 

4 Nations afar in ignorance deep ; 

Isles of the sea, where darkness lay ; 
These hear his voice, they wake from sleep, 

And throng with joy the upward way. 
They cry with us, "Send forth thy light," 

O Lamb, once slain for sinful men ; 
Burst Satan's bonds, O God of might ; 

Set all men free ! Amen, am n ! 

5 Sing to the Lord a glorious song, 

Sing to his name, his love forth tell ; 
Sing on, heaven's hosts, his praise pro- 
Sing, ye who now on earth do dwell ; 
Worthy the Lamb for sinners slain, 

From angels, praise ; and thanks from 
men ; 
Worthy the Lamb, enthroned to reign, 
Glory and power ! Amen, Amen ! 

John Julian. 

This triumphant hymn was written by 
the Rev. John Julian, D.D., editor in chief 
of the Dictionary of Hymnology, the 
most ambitious work on hymnody in our 
language. The date is given as 1883. 

The first stanza is addressed directly to 
Deity, and is the best of the five. The 
second calls attention to the gradual prog- 
ress of revelation. The fourth stanza de- 
scribes the awakening of the nations. The 
last verse is an exhortation to praise. It 
is a poem of the strenuous order. A 
strong choir can render it very effectively. 


L. M. 

ALL people that on earth do dwell, 
Sing to the Lord with cheerful voice ; 
Him serve with fear, his praise forth tell 
Come ye before him, and rejoice. 

2 The Lord, ye know, is God indeed ; 

Without our aid he did us make ; 
We are his flock, he doth us feed, 
And for his sheep he doth us take. 

3 O, enter then his gates with praise, 

Approach with joy his courts unto ; 

Praise, laud, and bless his name always, 
For it is seemly so to do. 

4 For why? the Lord our God is good, 
His mercy is forever sure ; 
His truth at all times firmly stood, 
And shall from age to age endure. 

William Kethe: 

This quaint metrical paraphrase of the 
one hundredth Psalm is one of the most 
historic hymns of the language. It has 
been found in most of the hymn books 
that have appeared in the last one hun- 
dred and fifty years. It first appeared in 
J. Daye's Psalter, London, 1560-61. In 
verse two, line three, the original has "We 
are his folck." The second appearance of 
the hymn was in the Anglo-Genevan Psal- 
ter, 1561, where it reads: "We are his 
folke." In nearly all later editions it 
reads as above, "We are his flock" — which 
is what the author probably wrote, it be- 
ing a printer's blunder to make it read 
"folck." The familiar tune called "Old 
Hundred" is popularly associated with 
this hymn, but Dr. Julian says this tune 
appeared in the French-Genevan Psalter 
in 1551 as the tune for the one hundred 
and thirty-fourth Psalm, and he thinks 
this hymn by Kethe was written for the 
tune rather than the tune for the hymn. 
The tune continues to be used; but the 
hymn, though still sung in many church- 
es, is treasured more as a precious histor- 
ic relic of the past than for its adaptation 
to present use in public worship. As a 
mere matter of curiosity, we give here the 
hymn as it first appeared in print in 1560: 

Al people yt on earth do dwel, 

sing to ye lord, with chereful voice 

Him serve wt fear, his praise forth tel, 
come ye before him and reioyce. 

The Lord ye know is God in dede, 
with out our aide, he did us make : 

We are his folck, he doth us fede, 
and for his Shepe, he doth us take. 

Oh enter then his gates with prayse 
approche with ioye, his courtes unto : 

Praise, laude, and blesse his name alwayes, 
for it is semely so to doe. 



For why? the Lord our God is good, 

his mercy is for <ure sure: 
His truetta rt all tymes firmely stood 

and shall from age to age indure. 

"One of the greatest of all our hymns," 
Dr. W. B. Bodine; "great in its asso- 
ciations, great in its simplicity, great in 
its spiritual power. It is the only hymn 
still remaining in our hymnal (Protestant 
Episcopal) which was sung by our forefa- 
thers in the Jamestown Colony, estab- 
lished three centuries ago — the only hymn 
sung continuously in our churches from 
that day to this. The tune ("Old Hun- 
dred") to which it has been sung by many 
millions of people, and around which so 
many memories cling, was the work of 
Louis Bourgeois, editor of the French 
Genevan Psalter of 1551." 

i ; l- m. 

ETERNAL Power, whose high abode 
Becomes the grandeur of a God. 
Infinite lengths beyond the bounds 
Where stars revolve their little rounds ! 

2 Thee while the first archangel sings, 
He hides his face behind his wings, 
And ranks of shining thrones around 
Fall worshiping, and spread the ground. 

3 Lord, what shall earth and ashes do? 
We would adore our Maker too ; 
From sin and dust to thee we cry. 
The Great, the Holy, and the High. 

4 God is in heaven, and men below : 

- .ort our tunes ; our words be few : 
A solemn reverence checks our songs, 
And praise sits silent on our tongues. 
Isaac Watts. 

This grand and worshipful hymn first 
appeared in Hora Lyric. 1706, under 
the title "The Glories of God Exceed All 
^Yorshilj." It appears in the second edi- 
tion, 1709, without change except the ti- 
tle, which is "God Exalted Above All 
Praise." It has six stanzas. These are 
one, three, four, and six, with a change in 
only one line. Watts wrote verse two. 
line one: "Thy dazzling beauties xchilst 
he sings." This change was made by 

John Wesley for his Collection of Hymns 
for the People Called Methodisis. 1779, 
and was made necessary by the omission 
of the second stanza of the original. 
The omitted stanzas are as follows: 

2 The lowest Step about thy Seat 
Rises too high for Gabriel's I 
In vain the tall Arch- Angel trif-s 
To reach thine height with wondering Eyes. 

5 Earth from afar has heard thy Fame, 
And Worms have learnt to lisp thy Name : 
But, O, the Glories of thy Mind 
Leave all our soaring Thoughts behind. 


7s, 6s. D. 

0GOD, the Rock of Ages, 
Who evermore hast been, 
What timj the tempest rages, 

Our dwelling place serene ; 
B> fore thy first creations, 

O Lord, the same as now, 
To endless generations 
The everlasting Thou ! 

2 Our years are like the shadows 

On sunny hills that lie, 
Or grasses in the meadows 

That blossom but to die : 
A sleep, a dream, a story 

By strangers quickly told, 
An unremaining glory 

Of things that soon are old. 

3 O thou who canst not slumber. 

Whose light grows never pale, 
Teach us aright to number 

Our years before they fail. 
On us thy mercy lighten, 

On us thy goodness rest, 
And let thy spirit brighten 

The hearts thyself hast blessed. 

4 Lord, crown our faith's endeavor 

With beauty and with grace, 
Till, clothed in light forever, 

We see thee face to face : 
A joy no language measures, 

A fountain brimming o'er, 
An endless flow of pleasures, 

An ocean without shore. 

Edward H. Bickersteth. 

In the author's volume titled The Two 
Brothers. 1871, the date of this hymn is 
given as 1862; but in his annotation upon 
the hymn as published in The Hymnal 



Companion, 1880, he says it was written 
in 1860. It is a beautiful and almost lit- 
eral rendering of certain verses contained 
in the ninetieth Psalm. 


8s, 7s. D. 

COME, thou Fount of every blessing, 
Tune my heart to sing thy grace ; 
Streams of mercy, never ceasing, 

Call for songs of loudest praise. 
Teach me some melodious sonnet, 
Sung by flaming tongues above ; 
Praise the mount — I'm fixed upon it — 
Mount of thy redeeming love. 

2 Here I raise mine Ebenezer ; 

Hither by thy help I'm come ; 
And I hope, by thy good pleasure, 

Safely to arrive at home. 
Jesus sought me when a stranger, 

Wandering from the fold of God ; 
He, to rescue me from danger, 

Interposed his precious blood. 

3 O to grace how great a debtor 

Daily I'm constrained to be ! 
Let thy goodness, like a fetter, 

Bind my wandering heart to thee : 
Prone to wander, Lord, I feel it, 

Prone to leave the God I love ; 
Here's my heart, O take and seal it ; 

Seal it for thy courts above. 

Robert Robinson. 

Dr. Julian says that the earliest known 
text of this hymn is found in A Collec- 
tion of Hymns Used by the Church in 
Angel Alley, Bishopsgate, 1759, now in the 
library of Drew Theological Seminary, at 
Madison, N. J. 

Slight verbal changes have been made 
in these three stanzas, and one verse, the 
fourth, is omitted. The reader will read- 
ily see why: 

O that day when freed from sinning, 

I shall see thy lovely face ! 
Richly cloth'd in blood-wash'd linen, 

How I'll sing thy sov'reign grace ! 
Come, dear Lord, no longer tarry, 

Take my raptur'd soul away ; 
Send thy angels down to carry 

Me to realms of endless day." 

At one time in Robinson's life he was 
skeptical, and, of course, miserable, It 

is said that a lady once quoted this hymn 
in his presence, and spoke of the spiritual 
benefit she had derived from the use of 
it. Robinson was deeply moved, for he 
was a man of quick sensibilities, and with 
much emotion said: "Madam, I am the 
poor, unhappy man who composed that 
hymn many years ago; and I would give 
a thousand worlds, if I had them, to enjoy 
the feelings I had then." 

The Scripture reference in the second 
verse is to 1 Samuel vii. 12: "Then Sam- 
uel took a stone and set it between Miz- 
peh and Shen, and called the name of it 
Ebenezer, saying, Hitherto hath the Lord 
helped me." 

This old hymn has indeed been a 
"fount of blessing" to multitudes. 

20 Us, 10s. 

PRAISE ye Jehovah ! praise the Lord most 
Who cheers the contrite, girds with 
strength the weak ; 
Praise him who will with glory crown the 
And with salvation beautify the meek. 

2 Praise ye Jehovah ! for his loving-kind- 

And all the tender mercy he hath shown ; 
Praise him who pardons all our sin and 

And calls us sons, and takes us for his 


3 Praise ye Jehovah ! source of all our bless- 

ings ; 

Before his gifts earth's richest boons wax 
dim ; 
Resting in him, his peace and joy possess- 

All things are ours, for we have all in 

4 Praise ye the Father ! God the Lord, who 

gave us, 
With full and perfect love, his only Son ; 
Praise ye the Son ! who died himself to save 

us ; 
Praise ye the Spirit ! praise the Three in 

One ! Margaret C. Campbell. 

Written at Exeter, England, on Decem- 
ber 24, 25, and 27, 1838, It was first pub- 



lished in J. G. Deck's Psalms, Hymns, and 
Spiritual Songs, 1842. It claims to be a 
version of the one hundred and forty- 
ninth Psalm. 


L. M. 

COME, let us tune our loftiest song, 
And raise to Christ our joyful strain ; 
Worship and thanks to him belong, 
Who reigns, and shall forever reign. 

2 His sovereign power our bodies made ; 

Our souls are his immortal breath ; 
And when his creatures sinned, he bled, 
To save us from eternal death. 

3 Burn every breast with Jesus' love ; 

Bound every heart with rapturous joy ; 
And saints on earth, with saints above, 
Your voices in his praise employ. 

4 Extol the Lamb with loftiest song, 

Ascend for him our cheerful strain ; 
Worship and thanks to him belong, 
Who reigns, and shall forever reign. 
Robert A. West. 

The author of this hymn was one of 
a committee of seven men appointed by 
the General Conference of 1844 to prepare 
a standard edition of the Methodist Hymn 
Book. This excellent hymn was con- 
tributed to that book, 1849. It has re- 
tained its place since then without the 
change of a word. 

There are two distinct definitions of the 
word "hymn." One, found in the Century 
Dictionary, is very broad: "A religious 
ode, song, or other poem." According to 
this definition, almost any worthy lyric 
could be called a hymn. A narrow defini- 
tion is given in Webster's Dictionary: 
"A hymn is a sacred lyric, a song of 
praise or thanksgiving to a deity or to 

According to this narrow definition, this 
is not a hymn. It is lacking in direct ad- 
dress to God. It sings about Christ, not 
to Christ. According to some hymnolo- 
gists, this fine lyric must be relegated to 
hymns of the second class. It is certain- 
ly one of the best of its kind. 

22, s. m. 

COME, ye that love the Lord, 
And let your joys be known ; 
Join In a song with sweet accord, 
While ye surround his throne. 

2 Let those refuse to sing 

Who never knew our God, 
But servants of the heavenly King 
May speak their joys abroad. 

3 The God that rules on high, 

That all the earth surveys, 
That rides upon the stormy sky, 
And calms the roaring seas; 

4 This awful God is ours, 

Our Father and our Love ; 
He will send down his heavenly powers, 
To carry us above. 

5 There we shall see his face, 

And never, never sin ; 
There, from the rivers of his grace, 
Drink endless pleasures in. 

6 Yea, and before we rise 

To that immortal state, 
The thoughts of such amazing bliss 
Should constant joys create. 

7 The men of grace have found 

Glory begun below ; 
Celestial fruit on earthly ground 
From faith and hope may grow. 

8 Then let our songs abound, 

And every tear be dry ; 
We're marching through Immanuel's 
To fairer worlds on high. 

Isaac Watts. 

"Heavenly Joy on Earth" is the title of 
this truly joyful song in Hymns and Spir- 
itual Songs, 1707. In the first stanza the 
author wrote in the first line "we" in- 
stead of "ye;" in the second line "our" 
instead of "your;" and in the fourth line 
"And thus" instead of "While ye," and 
"the" instead of "his." In the third line 
of the second stanza he wrote "fav'rites" 
instead of "servants." Some hymnals 
have "children" here, which is perhaps 
better than either "favorites" or "serv- 
ants." The third stanza the author put 
in brackets. As he wrote it the reading 
is as follows: 



The God that rules on high, 
And thunders when he please, 

That rides upon the stormy sky, 
And manages the seas. 

It was altered by John Wesley. This is 
one of the most cheerful and enlivening 
hymns found in the entire range of Eng- 
lish hymnody. 

Stanzas two and nine are omitted: 

2 The sorrows of the mind 

Be banished from the place ! 
Religion never was designed 
To make our pleasures less. 

9 The hill of Zion yields 

A thousand sacred sweets, 
Before we reach the heavenly fields, 
Or walk the golden streets. 

It is not often that a clergyman can af- 
ford to use a hymn to administer a rebuke 
to a contentious choir. But Dr. Samuel 
West, a New England clergyman, is said 
to have used this hymn very effectively 
for that purpose many years ago. A dif- 
ficulty had arisen in the congregation 
which had extended to the choir, and it 
had been whispered around that the choir 
would refuse to sing if the pastor should 
announce the hymn. The pastor was 
quite equal to the emergency. He intro- 
duced the services by announcing this 
hymn. After reading it slowly and im- 
pressively, he looked up at the choir and 
asked them please to begin with the sec- 
ond stanza: 

Let those refuse to sing 
Who never knew our God, 

But servants of the heavenly King 
May speak their joys abroad. 

It is needless to add that not only the 
choir but the congregation generally all 
joined in the singing of the hymn that 
day; and its use did much toward healing 
the strife. 

George John Stevenson in his Metho- 
dist Hymn Book described an impressive 
use of a part of this hymn: 

In 1831 James Martin, of Liverpool, a Wes- 
leyan class leader of deep piety, was a pas- 

senger on the Rothesay Castle when she was 
wrecked between Liverpool and Beaumaris, 
when ninety-three persons perished and only 
twenty-one were saved. When he was float- 
ing on a plank from which several had been 
washed off by the tempestuous waves, he was 
heard singing above the roar of the sea, 

"The God that rules on high, 
That all the earth surveys, 
That rides upon the stormy sky, 
And calms the roaring seas." 

He was one among those saved, and after 
his rescue he dedicated his life afresh to God. 
He became a leader of three classes and 
worked with untiring energy and holy zeal 
in the cause of God. Dying in his seventy- 
ninth year, after forty-five years of devoted 
service as a class leader, he was heard to 
say in his last hours of consciousness : "I 
know nothing of doubts and fears." 

23 L. M. 

COME, O my soul, in sacred lays, 
Attempt thy great Creator's praise: 
But O what tongue can speak his fame? 
What mortal verse can reach the theme? 

2 Enthroned amid the radiant spheres, 
He glory like a garment wears ; 

To form a robe of light divine, 

Ten thousand suns around him shine. 

3 In all our Maker's grand designs, 
Omnipotence with wisdom shines ; 

His works, through all this wondrous frame, 
Declare the glory of his name. 

4 Raised on devotion's lofty wing, 
Do thou, my soul, his glories sing ; 
And let his praise employ thy tongue, 
Till listening worlds shall join the song. 

Thomas Blacklock. 

This is a fine sacred ode rather than a 
hymn. It came into the hymn book of 
the Methodist Episcopal Church in 1849. 

No hymnologist that I have read seems 
to know its history. 

It is found in Dobell's New Selections, 
1806, six stanzas, where it has the title 
"Majesty of God." It is founded upon 
Psalm civ. 1, 2: 

Bless the Lord, O my soul. O Lord my 
God, thou art very great ; thou art clothed 
with honor and majesty : who coverest thy- 



self with light as with a garment : 
stretchest out the heavens like a curtain. 


Persistent efforts have been made to 
verify the authorship of this widely circu- 
lated and very useful hymn, but so far 
without success. It may have been writ- 
ten by the blind poet Thomas Blacklock, 
but it does not appear in any of his pub- 
lished works. 


C. M. 

COME, let us join our cheerful songs 
With angels round the throne ; 
Ten thousand thousand are their tongues, 
But all their joys are one. 

2 "Worthy the Lamb that died," they cry, 

"To be exalted thus !" 
"Worthy the Lamb !" our hearts reply, 
"For he was slain for us." 

3 Jesus is worthy to receive 

Honor and power divine ; 
And blessings more than we can give 
Be, Lord, forever thine. 

4 The whole creation join in one, 

To bless the sacred name 
Of him that sits upon the throne, 
And to adore the Lamb. 

Isaac Watts. 

"Christ Jesus, the Lamb of God, Wor- 
shiped by Ail the Creation" is the title of 
this hymn in the author's Hymns and 
Spiritual Songs, 1707. It was written to 
be sung at the close of a sermon on Rev- 
elation v. 11-13: 

And I beheld, and I heard the voice of 
many angels round about the throne, and the 
beasts, and the elders : and the number of 
them was ten thousand times ten thousand, 
and thousands of thousands ; saying with a 
loud voice, Worthy is the Lamb that was 
slain to receive power, and riches, and wis- 
dom, and strength, and honor, and glory, and 
blessing. And every creature which is in 
heaven, and on the earth, and under the earth, 
and such as are in the sea, and all that are 
in them, heard I saying, Blessing, and honor, 
and glory, and power, be unto him that sit- 
teth Upon the throne, and unto the Lamb for- 
ever and ever. 

Watts wrote "lips" instead of "hearts" 

in the third line of the second stanza. 
The fourth stanza of the original has been 

4 Let all that dwell above the sky, 
And air, and earth and seas, 
Conspire to lift thy glories high, 
And speak thine endless praise. 

This hymn has been translated into 
many languages, and is one of the most 
highly esteemed and widely used of all 
Watts's hymns. 

25 8s, 7s. 61. 

THOU God of my salvation, 
My Redeemer from all sin ; 
Moved by thy divine compassion, 
Who hast died my heart to win, 

I will praise thee ; 
Where rhall I thy praise begin? 

2 Though unseen, I love the Saviour ; 

He hath brought salvation near ; 
Manifests his pardoning favor ; 
And when Jesus doth appear. 

Soul and body 
Shall his glorious image bear. 

3 While the angel choirs are crying. 

"Glory to the great I AM," 
I with them will still be vying — 
Glory ! glory to the Lamb ! 

O how precious 
Is the sound of Jesus' name ! 

4 Angels now are hovering round us, 

Unperceived amid the throng : 
Wondering at the love that crowned us, 
Glad to join the holy song : 

Love and praise to Christ be'cng! 
Thomas Olivers. 

Title: "An Hymn of Praise to Christ." 
Daniel Sedgewick, who reprinted Thom- 
as Olivers's poems, said: "This hymn is 
attributed to him on the circumstantial 
evidence that surrounds its history. It 
first appeared appended to a short account 
of the death of Mary Langson, of Taxall, 
in Cheshire, who died January 29, 1769, 
when Olivers was stationed on that cir- 
cuit." The internal evidence so substan- 
tiates the claim that the authorship is not 
questioned. It has something of the con- 



fident inspiration of "The God of Abra- 
ham praise" (No. 4). 

The author of this hymn was a great 
admirer of John Wesley, and wrote a long 
and valuable elegy on his death, in 1791. 
Here are the closing stanzas: 

Then let us still maintain the Truth he taught, 
And Faithful prove in Deed, and Word, and 

Thought ; 
The path he trod before, let us through life 

And help each other on, and keep the Prize in 


But chiefly We, who bear his sacred Shame, 

Who feed his Flock, and still revere his 
name ; 

Let us unite in one, and strive with mutual 

To help his Children on, and all their bur- 
thens bear. 

For this, let us like Him, the world disdain ; 
For this like Him rejoice in Toil and Pain ; 
Like Him be bold for God ; like Him our Time 

Redeem : 
And Strive, and Watch, and Pray ; And Live 

and Die Like Him. 


6, 6, 6, 6, 8, 8. 

SHALL hymns of grateful love 
Through heaven's high arches ring, 
And all the hosts above 

Their songs of triumph sing; 
And shall not we take up the strain, 
And send the echo back again? 

2 Shall they adore the Lord, 

Who bought them with his blood, 
And all the love record 

That led them home to God ; 
And shall not we take up the strain, 
And send the echo back again? 

3 O spread the joyful sound, 

The Saviour's love proclaim, 
And publish all around 

Salvation through his name, 
Till all the world take up the strain, 
And send the echo back again. 

James J. Cummins. 

"The New Song''' is the title which this 
hymn bears in the author's Poetical Med- 
itations and Hymns, 1839, where it first 
appeared, being republished in his Lyra 
Evangelica: Hymns, Meditations, and Oth- 

er Poems, 1849. It takes up a lofty and 
beautiful strain not found in any other 
hymn, and hence fills a useful place in the 
hymnal. If there be a sense in which the 
Church in heaven and the Church on 
earth are truly one, it is well to indulge 
occasionally in thoughts like that running 
through this hymn and have our worship 
here purified and ennobled in the effort 
to make it like unto the worship above. 

21 8> 5, 8, 5, 8, 4, 3. 

ANGEL voices, ever singing 
Round thy throne of light, 
Angel harps forever ringing, 

Rest not day nor night ; 
Thousands only live to bless thee, 
And confess thee 
Lord of might. 

2 Thou who art beyond the farthest 

Mortal eye can scan, 
Can it be that thou regardest 

Songs of sinful man? 
Can we feel that thou art near us, 
And wilt hear us? 
Yea, we can. 

3 Here, great God, to-day we offer 

Of thine own to thee ; 
And for thine acceptance proffer, 

All unworthily, 
Hearts and minds, and hands and voices, 
In our choicest 

4 Honor, glory, might, and merit, 

Thine shall ever be, 
Father, Son, and Holy Spirit, 

Blessed Trinity : 
Of the best that thou hast given 
Earth and heaven 
Render thee. 

Francis Pott. 

This popular modern hymn makes up 
in sweetness what it lacks in dignity. 
The author edited a book of Hymns Fit- 
ted to the Order of Common Prayer, to 
one of the editions of which this hymn 
was contributed. The title was: "For the 
Dedication of an Organ or for a Meeting 
of Choirs." Here is an omitted stanza, 
the third of the original: 



3 Yea, we know Thy Love reioices 
O'er each work of Thine : 
Thou didst ears and hands and voices 

For Thy praise combine ; 
Crailsman's art and music's measure 
For thy pleasure 
Didst design. 

28 7s. 61. 

FOR the beauty of the earth, 
For the beauty of the skies, 
For the love which from our birth 

Over and around us lies : 
Christ our God, to thee we raise 
This our hymn of grateful praise. 

2 For the beauty of each hour 

Of the day and of the night, 
Hill and vale, and tree and flower, 

Sun and moon, and stars of light : 
Christ our God, to thee we raise 
This our hymn of grateful praise. 

3 For the joy of ear and eye ; 

For the heart and mind's delight ; 
For the mystic harmony 

Linking sense to sound and sight : 
Christ our God, to thee we raise 
This our hymn of grateful praise. 

4 For the joy of human love, 

Brother, sister, parent, child, 
Friends on earth, and friends above ; 

For all gentle thoughts and mild : 
Christ our God, to thee we raise 
This our hymn of grateful praise. 

5 For thy Church, that evermore 

Lifteth holy hands above, 
Offering up on every shore 

Its pure sacrifice of love : 
Christ our God, to thee we raise 
This our hymn of grateful praise. 

6 For thyself, best Gift Divine ! 

To our race so freely given ; 
For that great, great love of thine, 

Peace on earth, and joy in heaven : 
Christ our God, to thee we raise 
This our hymn of grateful praise. 

Folliott S. Pierpoint. 

"One of the most delightful hymns of 
thanksgiving in the language." It was 
written for the second edition of Orby 
Shipley's Lyra Eucharistica. 1864, where 
it bears the title, "Holy Com yn union or 
Flower Services." It was written as a 
hymn to be sung at the celebration of 

the Lord's Supper. It is widely used as a 
children's hymn and for flower festivals. 
Its glowing expressions of gratitude and 
praise explain its great popularity with 
a wide circle of worshipers, young and 
old. One of the two omitted stanzas is 
worthy of reproduction here: 

For each perfect gift of thine 

To our race so freely given, 
Graces human and divine, 

Flowers of earth and buds of heaven : 
Gracious God, to thee we raise 
This our sacrifice of praise. 

29 8s, 4s. 61. 

MY God, I thank thee, who hast made 
The earth so bright ; 
So full of splendor and of joy, 

Beauty and light, 
So many glorious things are here, 
Noble and right. 

2 I thank thee, too, that thou hast made 

Joy to abound ; . 
So many gentle thoughts and deeds 

Circling us round ; 
That in the darkest spot of earth 

Some love is found. 

3 I thank thee more that all our joy 

Is touched with pain : 
That shadows fall on brightest hours, 

That thorns remain ; 
So that earth's bliss may be our guide, 

And not our chain. 

4 I thank thee, Lord, that thou hast kept 

The best in store ; 
We have enough, yet not too much, 

To long for more ; 
A yearning for a deeper peace 

Not known before. 

5 I thank thee. Lord, that here our souls, 

Though amply blest. 
Can never find, although they seek. 

A perfect rest ; 
Xor ever shall, until they lean 

On Jesus' breast. 

Adelaide A. Procter. 

From the author's Legends and Lyrics. 

Bishop Bickersteth in his notes says: 
"This most beautiful hymn touches the 
chord of thankfulness in trial as perhaps 
no other hvmn does, and is thus most use- 



ful for the visitation of the sick." It is 
equally useful for those who are well. 

The author's most familiar lyric is that 
which is titled "The Lost Chord:" 

Seated one day at the organ, 

I was. weary and ill at ease, 
And my fingers wandered idly 

Over the noisy keys. 

I do not know what I was playing 
Or what I was dreaming then, 

But I struck one chord of music 
Like the sound of a great Amen. 

After describing it and her vain effort to 
reproduce it, she closes with this stanza: 

It may be that Death's bright angel 
Will speak in that chord again ; 

It may be that only in heaven 
I shall hear that grand Amen. 

30 6, 7, 6, 7, 6, 6, 6, 6. 

NOW thank we all our God 
With heart and hands and voices, 
Who wondrous things hath done, 

In whom his world rejoices ; 
Who, from our mothers' arms, 
Hath blessed us on our way 
With countless gifts of love, 
And still is ours to-day. 

2 O may this bounteous God 

Through all our life be near us, 
With ever joyful hearts 

And blessed peace to cheer us ; 
And keep us in his grace, 

And guide us when perplexed, 
And free us from all ills 
In this world and the next. 
Martin Rinkart. Tr. by Catherine Winkicorth. 

This is called "The Te Deum of Ger- 
many." and is one of the most famous and 
historic of German hymns, being sur- 
passed in influence and popularity among 
Germans by only one other hymn, and 
that is Luther's "Ein Feste Burg ist unser 
Gott.'' "Thanksgiving" is the title of the 
German original, which begins "Nun dan- 
ket alle Gott." Its first appearance in 
print, so far as known, was in J. Cruger's 
Praxis Pietatis Melica. 1648. Cruger was 
one of the most distinguished German mu- 
sicians of the seventeenth century, and 
this was his most important publication. 

His hymn tunes are described as "noble 
and simple," about twenty being still in 
use. "Nun DanJcet." the tune which ac- 
companies this hymn, is his composition, 
being written especially for it. 

Rinkart, the author of the hymn, was 
one of the most consecrated, faithful, and 
heroic pastors who lived in Germany dur- 
ing the trying ordeal of the "Thirty Years' 
War." His life was spent mainly in 
Eilenburg, where his devoted attentions 
to his flock during the terrible experiences 
of war, famine, and pestilence through 
which they passed has made his name im- 
mortal in the annals of pastoral fidelity. 
It is not known exactly when he wrote 
this hymn. Its appearance in the volume 
above named being coincident with the 
termination of the "Thirty Years' War" 
doubtless led to the oft-published story 
that it was written as a thanksgiving 
hymn in celebration of that event. 

This origin is possible, and would add 
interest to the hymn; but Dr. Julian, Miss 
Winkworth, and other authorities incline 
to the opinion that it was written at an 
earlier date. No less than twelve differ- 
ent translations of the hymn have been 
made into English. That here given, by 
Miss Winkworth, is the most popular with 
modern editors of hymnals. It first ap- 
peared in the second series of her Lyra 
Germanica, 1858. The third stanza is 

All praise and thanks to God 

The Father now be given, 
The Son and Him who reigns 

With them in highest heaven, 
The one eternal God, 

Whom earth and heaven adore ; 
For thus it was, is now 

And shall be ever more. 

This last omitted stanza is a version of 
the Gloria Patri. The first two verses are 
based upon Ecclesiasticus 1. 22-24: "Now, 
therefore, bless ye the God of all, which 
only doeth wondrous things everywhere. 
which exalteth our days from the womb. 



and dealeth with us according to his mer- 
cy. He grants us joyfulness of heart, and 
that peace may be in our days in Israel 
forever: that he would confirm his mercy 
with us, and deliver us at his time!" 

It is a matter of curious interest that 
the author of this most popular thanks- 
giving hymn of Germany, which is sung 
on all great national occasions, should be 
one who was called on to go through such 
an experience in war, pestilence, and fam- 
ine as has rarely ever fallen to the lot of 
any man. Of his experience in famine 
Miss Winkworth, his most appreciative 
translator, remarks: 

So great were Rinkart's own losses and 
charities that he had the utmost difficulty in 
rinding bread and clothes for his children, 
and was forced to mortgage his future in- 
come for several years. Yet how little his 
spirit was broken by all these calamities is 
shown by this hymn and others that he 
wrote; some, indeed, speaking of his own 
country's sorrows, but all breathing the same 
spirit of unbounded trust and readiness to 
give thanks. 

31 7s, 6s. 

ALL glory, laud, and honor 
To thee, Redeemer, King, 
To whom the lips of children 
Made sweet hosannas ring! 

2 Thou art the King of Israel, 

Thou Drvid's royal Son, 
Who in the Lord's name comest, 
The King and Blessed One. 

All glory, laud, and honor 

To thee, Redeemer, King, 
To whom the lips of children 

Made sweet hosannas ring ! 

3 The company of angels 

Are praising thee on high ; 
And mortal men, and all things 
Created, make reply. 

4 The people of the Hebrews 

With palms before thee went: 
Our praise and prayers and anthems 
Before thee we present. 

5 To thee, before thy passion, 

They sang their hymns of praise ; 
To thee, now high exalted, 
Our melody we raise. 

6 Thou didst accept their praises ; 
Accept the prayers we bring, 
Who in all good delightest, 
Thou good and gracious King. 

Theodulph. Tr. by John M. Neale. 

From the Latin, "Gloria, laus, et honor," 
of the ninth century. The translator in 
his preface says: 

This processional hymn for Palm Sunday 
is said to have been composed by S. Theo- 
dulph at Metz, or, as others will have it, at 
Angers, while imprisoned on a false accusa- 
tion, and to have been sung by him from his 
dungeon window, or by choristers instructed 
by him, as the Emperor Louis and his court 
were on their way to the cathedral. The 
good Bishop was immediately liberated. 

The Latin contained ten stanzas. One 
of those omitted Dr. Neale translated as 

Be Thou, O Lord, the Rider, 

And we the little ass ; 
That to God's Holy City 

Together we may pass. 

The singing of this stanza was discontin- 
ued in the seventeenth century for evi- 
dent reasons. 



6s. 61. 

HEN morning gilds the skies, 
My heart awaking cries, 

May Jesus Christ be praised ! 
Alike at work and prayer, 
To Jesus I repair ; 

May Jesus Christ be praised ! 

2 Whene'er the sweet church bell 
Peals over hill and dell, 

May Jesus Christ be praised ! 
O hark to what it sings, 
As joyously it rings, 

May Jesus Christ be praised! 

3 My tongue shall never tire 
Of chanting with the choir, 

May Jesus Christ be praised ! 
This song of sacred joy, 
It never seems to cloy, 

May Jesus Christ be praised ! 

4 When sleep her balm denies, 
My silent spirit sighs, 

May Jesus Christ be praised ! 
When evil thoughts molest, 
With this I shield my breast, 

May Jesus Christ be praised ! 



5 Does sadness fill my mind? 
A solace here I find, 

May Jesus Christ be praised ! 
Or fades my earthly bliss? 
My comfort still is this, 

May Jesus Christ be praised ! 

6 The night becomes as day, 
When from the heart we say, 

May Jesus Christ be praised ! 
The powers of darkness fear, 
When this sweet chant they hear, 

May Jesus Christ be praised ! 

7 In heaven's eternal bliss 
The loveliest strain is this, 

May Jesus Christ be praised ! 
Let earth, and sea, and sky, 
From depth to height reply, 

May Jesus Christ be praised ! 

8 Be this, while life is mine, 
My canticle divine, 

May Jesus Christ be praised ! 
Be this the eternal song 
Through ages all along, 

May Jesus Christ be praised ! 
From the German. Tr. by Edward Caswall. 

One of Caswall's most popular transla- 
tions. The German original begins, 
"Beim friihen Morgenlicht," and was pub- 
lished in the Katholisches Gesang-Buch, 
Wiirzburg, 1828, under the title, "The 
Christian Greeting," in fourteen stanzas. 
Six stanzas of Caswall's translation ap- 
peared in Formby's Catholic Hymns, Lon- 
don, 1854, and these, together with the 
eight additional stanzas, are found in 
Caswall's Masque of Mary, 1858. This 
hymn was a great favorite with Canon 
Liddon and the singers at St. Paul's Ca- 
thedral, in London. The spirited refrain 
at the end of each triplet of lines, "May Je- 
sus Christ be praised!" suggested to Dr. 
C. S. Robinson the title of one of his most 
popular collections of hymns, Laudes 
Domini, where it appears as the opening 
hymn. In his annotation upon this hymn 
Dr. Robinson says: 

The compiler of this and other hymn books, 
little and lurge, would like to say, once for 
all, that the aim of his entire work could not 
better be indicated than it is in the single 
line, "May Jesus Christ be praised !" For 

this book aims to be peculiar in presenting 
hymns which are neither didactic nor horta- 
tory, but which are addressed more directly 
and persistently as praises to the one Lord 
Jesus Christ. Pliny gave it as the singular 
characteristic of Christians in his day that 
they were wont to assemble early in the 
morning and evening and sing alternately 
among themselves a hymn of praise to Christ 
as God. 


C. M. 

NCE more we come before our God ; 

Once more his blessings ask: 
O may not duty seem a load, 

Nor worship prove a task ! 

2 Father, thy quickening Spirit send 

From heaven in Jesus' name, 
To make our waiting minds attend, 
And put our souls in frame. 

3 May we receive the word we hear, 

Each in an honest heart, 
And keep the precious treasure there, 
And never with it part ! 

4 To seek thee all our hearts dispose, 

To each thy blessings suit, 
And let the seed thy servant sows 
Produce abundant fruit. 

Joseph Hart. 

Title: "Before Preaching. 1 " From the 
Supplement of Hymns Composed on Va- 
rious Subjects. By J. Hart, 1762. 

In the third verse the author wrote 
"Hoard up" instead of "And keep;" in the 
fourth verse he wrote "a copious" instead 
of "abundant." 

The original has two additional stan- 

5 Bid the refreshing north wind wake, 

Say to the south wind, blow ; 
Let every plant the power partake, 
And all the garden grow. 

6 Revive the parched with heavenly showers, 

The cold with warmth divine ; 
And as the benefit is ours, 
Be all the glory thine. 

A worshipful hymn, very suitable for 
the opening of a service. To sing such a 
prayer-hymn as this "with the spirit and 
with the understanding also" is the best 
possible preparation for receiving and 
profiting by the gospel message that fol- 




C. M. 

COME, ye that love the Saviour's name, 
And joy to make it known, 
The Sovereign of your hearts proclaim, 
And bow before his throne. 

2 Behold your Lord, your Master, crowned 

With glories all divine; 
And tell the wond'ring nations round 
How bright those glories shine. 

3 When, in his earthly courts, we view 

The glories of our King, 
We long to love as angels do, 
And wish like them to sing. 

4 And shall we long and wish in vain? 

Lord, teach our songs to rise: 
Thy love can animate the strain, 
And bid it reach the skies. 

Anne Steele. 

-The King of Saints" is the title which 
this hymn bears in the author's Miscel- 
laneous Pieces in Verse and Prose, Lon- 
don, 1780. These are the best of eight 
stanzas. In the first line of the second 
stanza the author wrote "King" instead 
of "Lord," and "Saviour" instead of "Mas- 



LORD, we come before thee now, 
At thy feet we humbly bow ; 
O do not our suit disdain ; 
Shall we seek thee, Lord, in vain? 

2 Lord, on thee our souls depend ; 
In compassion now descend ; 

Fill our hearts with thy rich grace, 
Tune our lips to sing thy praise. 

3 In thine own appointed way, 
Now we seek thee, here we stay ; 
Lord, we know not how to go, 
Till a blessing thou bestow. 

4 Send some message frcm thy word, 
That may joy and peace afford ; 
Let thy Spirit now impart 

Full salvation to each heart, 

5 Grant that all may seek and find 
Thee, a gracious God and kind : 
Heal the sick, the captive free ; 
Let uc all rejoice in thee. 

William Hammond. 

Author's title: "A Hymn to be Sung at 
Public Worship." The original contains 

eight double stanzas. It first appeared in 
the author's Psalms, Hymns, and Spir- 
itual Songs, 1745. Lyra Britannica, Lon- 
don, 1866, also gives the original. Ham- 
mond wrote in the first couplet of verse 

Grant that those who seek may find, 
Thee a God sincere and kind. 

A very useful opening hymn, well cal- 
culated to inspire worship. It will be 
observed that this hymn throughout is 
directly addressed to Deity, and so culti- 
vates the idea of the presence of God in 
public worship. The fifth stanza of the 
original is omitted above: 

Comfort those who weep and mourn ; 
Let the time of joy return: 
Those that are cast down lift up, 
Strong in faith, in love, and hope. 


C. M. 

COME, let us who in Christ believe, 
Our common Saviour praise : 
To him with joyful voices give 
The glory of his grace. 

2 He now stands knocking at the door 

Of every sinner's heart : 
The worst need keep him out no more, 
Xor force him to depart. 

3 Through grace we hearken to thy voice. 

Yield to be saved from sin ; 
In sure and certain hope rejoice 

That thou wilt enter in. 

4 Come quickly in, thou heavenly Guest, 

Xor ever hence remove ; 
But sup with us, and let the feast 
Be everlasting love. 

Charles Wesley. 

From a hymn of fourteen stanzas in 
the author's Hymns on God's Everlasting 
Love. 1741, being the first and the last 
three stanzas, unaltered. "A little hymn 
of pure gold is thus made by omitting ten 
prosaic verses," says Telford in his Meth- 
odist Hymn Book Illustrated. 

3T U m. 

JESUS, where'er thy people meet, 
There they behold thy mercy seat; 
Where'er they seek thee, thou art found, 
And every place is hallowed ground. 



2 For thou, within no walls confined, 
Dost dwell with those of humble mind ; 
Such ever bring thee where they come, 
And, going, take thee to their home. 

3 Great Shepherd of thy chosen few, 
Thy former mercies here renew ; 
Here, to our waiting hearts, proclaim 
The sweetness of thy saving name. 

4 Here may we prove the power of prayer 
To strengthen faith and sweeten care; 
To teach our faint desires to rise, 

And bring all heaven before our eyes. 

William Cowper. 

Title: "On opening a place for Social 
Prayer: 9 It is from the Olney Hymns, 
1779. The author wrote in verse two, 
line two: ''Inhabitest the humble mind;" 
and in verse three, line one: "Dear Shep- 
herd of the chosen few." There are two 
additional stanzas: 

Behold, at thy commanding word, 
We stretch the curtain and the cord ; 
Come thou, and fill this wider space, 
And bless us with a large increase. 

Lord, we are few, but thou art near; 
Nor short thine arm, nor deaf thine ear ; 
Oh rend the heavens, come quickly down, 
And make a thousand hearts thine own. 

A genuine prayer song, one of Cowper's 

In the most recently published edition 
of Cowper's Poems (London, 1905) the 
editor, J. C. Bailey, has the following note 
which gives some interesting facts con- 
cerning the origin of this hymn: 

This beautiful hymn was written on the oc- 
casion of the first prayer meeting held at a 
house in Olney called the Great House. In 
the letter of November 30, 1793, to John 
Johnson, printed for the first time in the ap- 
pendix to the Introduction, Cowper says that 
writing on a Sabbath morning makes him go 
back to the time when "on Sabbath mornings 
in winter I rose before day, and by the light 
of a lanthorn trudged with Mrs. Unwin, of- 
ten through snow and rain, to a prayer meet- 
ing at the Great House, as they call it, near 
the church at Olney. There I always found 
assembled forty or fifty poor folks, who pre- 
ferred a glimpse of the light of God's counte- 
nance and favor to the comforts of a warm 
bed," etc. 

38 10s. 

SAVIOUR, again to thy dear name we raise 
With one accord our parting hymn of 
praise ; 
We stand to bless thee ere our worship 

Then, slowly kneeling, wait thy word of 

2 Grant us thy peace upon our homeward 

way ; 
With thee began, with thee shall end the 

day ; 
Guard thou the lips from sin, the hearts 

from shame, 
That in this house have called upon thy 


3 Grant us thy peace, Lord, through the com- 

ing night, 
Turn thou for us its darkness into light ; 
From harm and danger keep thy children 

For dark and light are both alike to thee. 

4 Grant us thy peace throughout our earth- 

ly life, 
Our balm in sorrow, and our stay in strife ; 
Then, when thy voice shall bid our conflict 

Call us, O Lord, to thine eternal peace. 

John Ellerton. 

Written in 1866 in five stanzas for the 
festival of the Malpas, Middlewich and 
Nantwich Choral Association. It was lat- 
er revised and reduced to the four stan- 
zas here given and published in the Ap- 
pendix to Hymns Ancient and Modern. 
1868. It is the most popular of all the 
author's hymns, and is regarded as one 
of the greatest evening hymns of the Eng- 
lish Church. It was written to be sung to 
a tune in Thome's collection titled "St. 
Agnes;" but the author later expressed a 
preference for the tune by Dr. Hopkins 
("Ellers") found in the music edition. 

"As tenderly spiritual as it is ethically 
strong," is Horder's comment. The omit- 
ted stanza is: 

Grant us thy peace — the peace thou didst be- 

On thine apostles in thine hour of woe ; 

The peace thou broughtest, when at eventide 

They saw thy pierced hands, thy wounded 




8, 7, 8, 7, 4, 7. 

LORD, dismiss us with thy blessing, 
Fill our hearts with joy and peace; 
Let us each, thy love possessing, 
Triumph in redeeming grace; 

O refresh us, 
Traveling through this wilderness. 

2 Thanks we give, and adoration, 

For thy gospel's joyful sound ; 
May the fruits of thy salvation 
In our hearts and lives abound ; 

May thy presence 
With us evermore be found. 

3 So, whene'er the signal's given 

Us from earth to call away, 
Borne on angels' wings to heaven, 
Glad the summons to obey, 

May we ever 
Reign with Christ in endless day. 

John Faivcett. 

A very appropriate and widely used 
closing hymn. It is found in the Rev. 
John Harris's Collection of Hymns for 
Public Worship, 1774. There it has the 
name of John Fawcett. It is not among 
his original hymns, 1782. The hymn is 
the same as it is found in Lady Hunting- 
don's Collection, edited by Walter Shirley, 
with the exception of one line. The fifth 
line of verse three reads: "We shall sure- 
ly." Some English hymnologists formerly 
attributed this hymn to Shirley instead of 



8s, 7s. 

AY the grace of Christ our Saviour, 
And the Father's boundless love, 

With the Holy Spirit's favor, 
Rest upon us from above. 

2 Thus may we abide in union 

With each other and the Lord, 
And possess, in sweet communion, 
Joys which earth cannot afford. 

John Newton. 

From the Olney Hymns, 1779. It is a 
metrical version of the apostolic benedic- 
tion: "The grace of the Lord Jesus Christ, 
and the love of God, and the communion 
oi the Holy Ghost, be with you all." (2 
Cor. xiii. 14.) It has been translated into 
several languages. 

41 C M. 

LORD, in the morning thou shalt Lear 
My voice ascending high : 
To thee will I direct my prayer, 
To thee lift up mine eye : 

2 Up to the hills where Christ is gone 

To plead for all his saints, 
Presenting, at the Father's throne, 
Our songs and our complaints. 

:! O may thy Spirit guide my feet 
In ways of righteousness ; 
Make every path of duty straight, 
And plain before my face. 

Isaac Watts. 

Title: "For the Lord's Day Morning. V 
It is a part of Watts's version of Psalm v. 

My voice shalt thou hear in the morning, O 
Lord ; in the morning will I direct my prayer 
unto thee, and will look up. For thou art 
not a God that hath pleasure in wickedness : 
neither shall evil dwell with thee. The fool- 
ish shall not stand in thy sight : thou hatest 
all workers of iniquity. Thou shalt destroy 
them that speak leasing : the Lord will abhor 
the bloody and deceitful man. But as for me, 
I will come into thy house in the multitude of 
thy mercy : and in thy fear will I worship 
toward thy holy temple. Lead me, O Lord, in 
thy righteousness because of mine enemies ; 
make thy way straight before my face. 

The original contains eight stanzas. We 
have above verses one, two, and five, unal- 
tered. Stanzas three, and four are as fol- 

3 Thou art a God before whose Sight 

The Wicked shall not stand ; 
Sinners shall ne'er be thy Delight, 
Nor dwell at thy Right-hand. 

4 But to thy House will I resort 

To taste thy Mercies there ; 
I will frequent thine holy Court, 
And worship in thy Fear. 

From The Psalms of David Imitated in 
the Language of the New Testament, Lon- 
don, 1719. 

42 L- M. 

NEW every morning is the love 
Our wakening and uprising prove ; 
Through sleep and darkness safely brought, 
Restored to life and power and thought. 




2 New mercies, each returning day, 
Hover around us while we pray ; 
New perils past, new sins forgiven, 

New thoughts of God, new hopes of heaven. 

3 If on our daily course our mind 
Be set to hallow all we find, 

New treasures still of countless price 
God will provide for sacrifice. 

4 The trivial round, the common task, 
Will furnish all we ought to ask — 
Room to deny ourselves, a road 

To bring us daily nearer God. 

5 Only, O Lord, in thy dear love 
Fit us for perfect rest above ; 
And help us this, and every day, 
To live more nearly as we pray. 

John Keble. 

"Morning" is the title of this in the au- 
thor's Christian Year, 1827. It comprises 
verses six, seven, eight, fourteen, and six- 
teen of a poem of sixteen stanzas. It is 
based upon Lamentations iii. 22, 23: "His 
compassions fail not. They are new every 
morning." The hymn begins with the 
words: "Hues of the rich unfolding 
morn." It was written September 20, 
1822. The Christian Year is one of the 
greatest religious classics in the English 
language. What the Prayer Book is in 
prose for public worship, the Christian 
Year is in poetry for private devotion. 


lis. 10s. 

STILL, still with Thee, when purple morn- 
ing breaketh, 
When the bird waketh, and the shadows 
Fairer than morning, lovelier than daylight, 
Dawns the sweet consciousness, I am 
with thee. 

2 Alone with thee, amid the mystic shadows, 

The solemn hush of nature newly born ; 
Alone with thee in breathless adoration, 
In the calm dew and freshness of the 

3 As in the dawning o'er the waveless ocean, 

The image of the morning-star doth rest, 
So in this stillness, thou beholdest only 
Thine image in the waters of my breast. 

4 Still, still to thee ! as to each newborn 

A fresh and solemn splendor still is giv- 

So does this bless consciousness awaking, 
Breathe each day nearness unto thee and 

5 When sinks the soul, subdued by toil, to 

Its closing eyes look up to thee in 

prayer ; 
Sweet the repose beneath thy wings o'er- 

But sweeter still, to wake and find thee 


6 So shall it be at last, in that bright morn- 


When the soul waketh, and life's shad- 
ows flee ; 
O in that hour, fairer than daylight dawn- 

Shall rise the glorious thought — T am 

with thee. Harriet B. Stowe. 

Contributed by the author, Mrs. Harriet 
Beecher Stowe, to the Plymouth Collec- 
tion, edited by her brother, Rev. Henry 
Ward Beecher, in 1855. It manifests a 
spirit of entire consecration and an inti- 
mate communion with God. As the fifth 
stanza intimates, the last conscious 
thought of the Christian at night and the 
first in the morning should be of God. 
Very suitable for private use, I doubt if 
this hymn ever becomes popular for the 
public congregation. It is unaltered and 

The author of this hymn by writing 
Uncle Tom's Cabin gained a permanent 
place in the annals of the nation. People 
differ as to the correctness of her pen pic- 
ture of slavery, but I am not aware that 
any one questions the honesty of her pur- 
pose or the piety of her heart. 


L. M. 

AWAKE, my soul, and with the sun 
Thy daily stage of duty run ; 
Shake off dull sloth, and joyful rise 
To pay thy morning sacrifice. 

2 Wake, and lift up thyself, my heart, 
And with the angels bear thy part, 
Who all night long unwearied sing 
High praises to the eternal King. 

3 All praise to thee, who safe hast kept, 
And hast refreshed me while I slept : 
Grant, Lord, when I from death shall wake, 
I may of endless life partake. 



4 Lord, I my vows to thee renew: 
Disperse my sins as morning dew : 
Guard my first springs of thought and will, 
And with thyself my spirit fill. 

5 Direct, control, suggest, this day, 
All I design, or do, or say; 

That all my powers, with all their might, 
In thy sole glory may unite. 

Thomas Ken. 

This is a part of Bishop Ken's famous 
"Morning Hymn," the original of which 
contains fourteen stanzas, being the first, 
fifth, ninth, twelfth, and thirteenth stan- 
zas. This and its companions, the no less 
admired Evening and Midnight Hymns. 
enjoy the enviable distinction of having 
furnished, at least in English-speaking 
countries, The Doxology of the Christian 
Church. Each of these hymns closes with 
our well-known "long-meter doxology." 

These three valuable hymns, it is in- 
teresting to note, were originally written 
for the use of the students in Winchester 
College. As early as 1674 Bishop Ken 
published a Manual of Prayers for the Use 
of the Scholars of Winchester College. 
This book had gone through thirty-two 
editions by 1799. The earliest edition 
that contained the above three hymns was 
that of 1695. In this work he thus coun- 
sels the young men: "Be sure to sing the 
Morning and Evening Hymns in your 
chamber, devoutly remembering that the 
Psalmist upon happy experience assures 
you that it is a good thing to tell of the 
loving-kindness of the Lord early in the 
morning and of his truth in the night sea- 
son." As these words appear in the first 
(1674) edition of the Manual, we are war- 
ranted in concluding that the two hymns 
referred to had then been printed and sup- 
plied to students, possibly on sheets of 

The author used to sing this hymn ev- 
ery morning upon waking, playing the ac- 
companiment with his lute. In obedience 
to his expressed wish, when he died he 
was buried at sunrise, and the singing of 
this hymn was almost the only ceremony 

that took place. He is buried in the 
churchyard at Frome, under the east win- 
dow of the church, and nothing but a sim- 
ple iron railing marks his resting place. 
But one who is embalmed in the affec- 
tions of the Christian Church, as he is, 
needs no marble shaft to perpetuate his 
memory or to mark his resting place as 
long as his grand doxology shall continue 
to be sung the world around. 

The fact that these three hymns should 
have been prepared especially for the use 
of college students adds to their interest. 
Two omitted stanzas in the "Morning 
Hymn" are worthy of being quoted here: 

I would not wake nor rise again, 
And Heaven itself I would disdain, 
Wert Thou not there to be enjoyed, 
And I in hymns to be employed. 

Heaven is, dear Lord, where'er thou art : 

O never then from me depart ; 

For to my soul 'tis hell to be 

But for one moment without thee. 

The "Evening Hymn" contains sentiments 
j that young and old alike can well afford 

to utter in prayer-song at the close of 
, day: 

Forgive me, Lord, for thy dear Son, 
The ills that I this day have done ; 
That with the world, myself, and thee, 
I. ere I sleep, at peace may be. 

Teach me to live that I may dread 
The grave as little as my bed ; 
Teach me to die, that so I may 
Rise glorious at the awful day. 

How much better than lying awake and 
fretting because of inability to sleep is it 
for one to quiet his restless soul by such 
reveries and prayers as the following, 
taken from the "Midnight Hymn:" 

My God, I now from sleep awake, 

The sole possession of me take : 

From midnight terrors me secure, 

And guard my heart from thoughts impure. 

Lord, lest the tempter me surprise, 
Watch over thine own sacrifice : 
All loose, all idle thoughts cast out, 
And make my very dreams devout. 



The soul that begins and closes all his 
days with songs and prayers like these 
has learned the secret of a serene, happy, 
and useful life. » 

Were any lines ever written more cer- 
tain to secure immortality for their au- 
thor and for themselves than the follow- 
ing four lines which were first written as 
a closing stanza for each of these three 

Praise God, from whom all blessings flow ; 
Praise him, all creatures here below ; 
Praise him above, ye heavenly host ; 
Praise Father, Son, and Holy Ghost. 



S. M. 

E lift our hearts to thee, 
O Day-Star from on high ! 

The sun itself is but thy shade, 
Yet cheers both earth and sky 

2 O let thy orient beams 

The night of sin disperse, 

The mists of error and of vice 

Which shade the universe ! 

3 How beauteous nature now ! 

How dark and sad before ! 
With joy we view the pleasing change, 
And nature's God adore. 

4 May we this life improve, 

To mourn for errors past ; 
And live this short revolving day 
As if it were our last. 

5 To God, the Father, Son, 

And Spirit — One in Three — 
Be glory ; as it was, is now, 
And shall forever be. 

John Wesley. 

Title: "A Morning Hymn" from A Col- 
lection of Psalms and Hymns, published 
by John Wesley, 1741. This is one of the 
few original hymns ascribed to John Wes- 
ley. One reason why it is thought to be 
his rather than Charles Wesley's is that 
it is only half-rhymed. Not a single 
known stanza of Charles Wesley's has that 
peculiarity. The sublime thought ex- 
pressed in the third line of the first stanza 
is borrowed from Plato: "Lumen est um- 
bra Dei." 

It has not been altered, but one stanza, 
the fourth, has been omitted: 



O may no gloomy crime 

Pollute the rising clay : 
Or Jesus's blood, like evening dew, 

Wash all the stains away. 

C. M. 

OW from the altar of my heart 

Let incense flames arise ; 
Assist me, Lord, to offer up 

Mine evening sacrifice. 

2 This day God was my Sun and Shield, 

My Keeper and my Guide; 
His care was on my frailty shown, 
His mercies multiplied. 

3 Minutes and mercies multiplied 

Have made up all this day : 
Minutes came quick, but mercies were 
More fleet and free than the3^. 

4 New time, new favor, and new joys 

Do a new song require : 
Til] I shall praise thee as I would, 
Accept my heart's desire. 

John Mason. 

"A Song of Praise for the Evening." 
from the author's Spiritual Songs, or 
So7igs of Praise to Almighty God, 1683. 
Three omitted stanzas have striking 
thoughts in them, and are well worth 

Awake, my Love ; Awake, my Joy ; 

Awake my Heart and Tongue : 
Sleep not : when Mercies loudly call, 

Break forth into a Song. 

Man's Life's a Book of History, 
The Leaves thereof are Days, 

The Letters Mercies closely joined, 
The Title is thy Praise. 

Lord of my Time, whose Hand hath set 

New Time upon my Score ; 
Then shall I praise for all my Time, 

When Time shall be no more. 

One of Mason's hymns contains this 
striking and much-admired verse: 

To whom, Lord, should I sing but Thee, 

The Maker of my tongue? 
Lo, other lords would seize on me, 

But I to Thee belong. 
As waters haste into their sea, 

And earth unto its earth. 
So let my soul return to Thee, 

From whom it had its birth. 




L. M. 

SUN of my soul, thou Saviour dear, 
It is not night if thou be near : 
O may no earthborn cloud arise 
To hide thee from thy servant's eyes. 

2 When the soft dews of kindly sleep 
My wearied eyelids gently steep, 

Be my last thought, how sweet to rest 
Forever on my Saviour's breast. 

3 Abide with me from morn till eve, 
For without thee I cannot live ; 
Abide with me when night is nigh, 
For without thee I dare not die. 

4 If some poor wandering child of thine 
Have spurned, to-day, the voice divine, 
Now, Lord, the gracious work begin ; 
Let him no more lie down in sin. 

5 Watch by the sick ; enrich the poor 
With blessings from thy boundless store ; 
Be every mourner's sleep to-night 

Like infant's slumbers, pure and light. 

6 Come near and bless us when we wake, 
Ere through the world our way we take ; 
Till, in the ocean of thy love, 

We lose ourselves in heaven above. 

John Keole. 

From The Christian Year, 1827. Part 
of a poem of fourteen stanzas, entitled 
"Evening.'' This hymn is made up of the 
third, seventh, eighth, and last three 
verses, unaltered. 

Text: "Abide with us; for it is toward 
evening, and the day is far spent." (Luke 
xxiv. 29.) 

This widely used and vastly useful lyric 
stands near the head of the list of the best 
English hymns. It is number nine in the 
list of hymns of "first rank" in Anglican 
Hymnology. and number eight in the list 
of Stead's Hymns That Have Helped. 

One of the highest privileges known to 
man is that of voicing the desires of 
Christian people in holy song as the au- 
thor has here. The hymn is full of the 
spirit of Christ, and could only have been 
written by a devout soul. 

Allan Sutherland, in his Famous Hymns 
of the World, writes of this hymn as fol- 

"Sun of My Soul" is one of the finest ex- 
amples in our language of what a true prayer- 

hymn should be. Beginning with a beautiful 
acknowledgment of what God is to us, there 
follows an earnest supplication that debasing 
thoughts may be driven away, that "no 
earthborn cloud" may arise to hide us from 
our Saviour. The first three stanzas are de- 
voted to an earnest plea for the right rela- 
tion of our own hearts to God. From that 
point it is easy and natural to think of and 
pray for others. How inclusive are the next 
two stanzas ! The wanderer, the sick, the 
poor, the mourner are all sympathetically re- 
membered ; and then follow the tender and 
comforting appeal for divine guidance 
throughout our earthly life and the exquisite- 
ly expressed belief in an eternity of joy with 
which the hymn ends. 

A visitor once asked Alfred Tennyson what 
his thoughts were of Christ. They were 
walking in a garden, and for a moment the 
great poet was silent ; then, bending over 
some beautiful flowers, he said: "What the 
sun is to these flowers, Jesus Christ is to my 
soul. He is the sun of my soul." Conscious- 
ly or unconsciously he was expressing the 
same thought in the same language used by 
John Keble years before when he gave to the 
world his great heart hymn, "Sun of My 

It has a large place in Christian biog- 
raphy. The following incident is taken 
from Our Hymns and Their Authors: 

A young lady of lovely Christian character 
lay seriously ill in her chamber. Her moth- 
er and loved ones were about her. The room 
seemed to her to be growing dark. She asked 
them to raise the curtains and let in the light. 
But, alas ! the curtains were already raised, 
and it was broad-open daylight. It was the 
night of death that had come, and she knew 
it not. As she kept asking them to let in the 
light, they had to tell her the nature of the 
darkness that was gathering about her. But 
she was not dismayed. With a sweet, quiet, 
plaintive voice she began singing her favorite 
hymn : 

"Sun of my soul, thou Saviour dear, 
It is not night if thou be near : 
O may no earthborn cloud arise 
To hide thee from thy servant's eyes." 

The eyes of all in the room suffused with 
tears as the sweet singer's tremulous voice 
continued : 

"When the soft dews of kindly sleep 
My wearied eyelids gently steep, 
Be my last thought, how sweet to rest 
Forever on my Saviour's breast." 




She had often sung this song to the delight of 
the home circle, but now it seemed, like the 
song of the dying swan, the sweetest she had 
ever sung. Her countenance lighted up with 
a beauty and radiance that came not from 
earth as she sang once more in feebler but 
more heavenly strains : 

"Abide with me from morn till eve, 
For without thee I cannot live : 
Abide with me when night is nigh, 
For without thee I dare not die." 

And with these fitting words the sweet voice 
was hushed in death, ceasing not to sing 

"Till, in the ocean of God's love, 
She lost herself in heaven above." 

48 L- M. 

AGAIN, as evening's shadow falls, 
We gather in these hallowed walls ; 
And vesper hymn and vesper prayer 
Rise mingling on the holy air. 

2 May struggling hearts that seek release 
Here find the rest of God's own peace ; 
And, strengthened here by hymn and 

Lay down the burden and the care. 

3 O God, our Light, to thee we bow ; 
Within all shadows standest thou ; 
Give deeper calm than night can bring; 
Give sweeter songs than lips can sing. 

4 Life's tumult we must meet again, 
We cannot at the shrine remain ; 
But in the spirit's secret cell 

May hymn and prayer forever dwell ! 
Samuel Longfellow. 

"Vesper Hymn" is the title which this 
hymn bears in the author's volume titled 
Vespers, 1859. It was a source of regret 
to many of those who had charge of the 
making of this Hymnal that they could 
not find a suitable hymn to place within 
the volume from the writings of Ameri- 
ca's greatest poet, Henry W. Longfellow. 
We are glad at least to have the family 
name and genius represented among our 
hymns and hymn writers in the person of 
the poet's brother. At the ordination of 
the author of this hymn to the ministry, 
in 1848, a song was used which was writ- 
ten by Henry W. Longfellow especially 
for the occasion. It contains the follow- 
ing lines that may well be quoted here: 

Christ to the young man said : "Yet one 
thing more : 

If thou wouldst perfect be, 
Sell all thou hast and give it to the poor, 

And come and follow me." 

Within this temple Christ again, unseen, 
Those sacred words hath said, 

And his invisible hands to-day have been 
Laid on a young man's head. 

And evermore beside him on his way 
The unseen Christ shall move, 

That he may lean upon his arm and say : 
"Dost thou, dear Lord, approve?" 

And this "Vesper Hymn" of Samuel 
Longfellow calls also to mind the superb 
little poem of his illustrious poet-brother, 
titled "The Day Is Done," which closes 
with this beautiful and oft-quoted tribute 
to the power of music and song: 

Such songs have power to quiet 

The restless pulse of care, 
And come like the benediction 

That follows after prayer. 

Then read from the treasured volume 

The poem of thy choice, 
And lend to the rhyme of the poet 

The beauty of thy voice. 

And the night shall be filled with music, 
And the cares that infest the day 

Shall fold their tents like the Arabs, 
And as silently steal away. 


L. M. 

GLORY to thee, my God, this night, 
For all the blessings of the light : 
Keep me, O keep me, King of kings, 
Beneath the shadow of thy wings. 

2 Forgive me, Lord, for thy dear Son, 
The ill which I this day have done ; 
That with the world, myself, and thee, 
I, ere I sleep, at peace may be. 

3 Teach me to live, that I may dread 
The grave as little as my bed ; 
Teach me to die, that so I may 
Rise glorious at the judgment day. 

4 O let my soul on thee repose, 

And may sweet sleep mine eyelids close ; 
Sleep, which shall me more vigorous make, 
To serve my God, when I awake. 

Thomas Ken. 

This is a part — the first four verses — 
of Bishop Ken's famous "Evening Hymn." 
The original, including the doxology, con- 



tained twelve stanzas. Several lines have 
been altered: 

Verse one, line four: 

Under Thy own Almighty Wings. 

Verse three, line four: 

Triumphing rise at the last day. 
Verse four, line one: 

O may my soul on Thee repose. 
Verse four, line two: 
And with sweet sleep mine eyelids close. 
Verse four, line three: 
Sleep that may me more vigorous make. 

From the author's Manual of Prayers 
for the Use of the Scholars of Winchester 
College, edition of 1695. 

Anglican Hymnology places this at the 
head of the list of hymns of first rank. 
Other hymnologists would put "Rock of 
Ages" or "Jesus, Lover of My Soul" at 
the head. This evening hymn is a gen- 
eral favorite; and if it is not at the very 
head of the list, it ought to be named 
among the first ten hymns in the English 
language. (See No. 42.) A recent writer 
makes this interesting observation: 

Where authors have written both morning 
and evening hymns, the evening hymns are, 
as a rule, more widely known and more great- 
ly beloved than the morning hymns. [See 
Xo. 42.] "One reason for this," says W. G. 
Horder, "may be found in the fact that we 
are more disposed to hymn-singing in the 
evening than in the morning, and that we are 
more moved by songs of the night than of the 

Dryden said of Ken: 

David left him, when he went to rest, 
His lyre ; and after him he sang the best. 
Each of Bishop Ken's three great 
hymns, for morning, evening, and mid- 
night, closed with the long-meter doxolo- 

Praise God, from whom all blessings flow, 

Praise him, all creatures here below ; 

Praise him above, ye heavenly host ; 

Praise Father, Son, and Holy Ghost. 
It is very likely that the lines of this 
grand doxology have been sung oftener 
than any other lines ever written by man. 



ABIDE with me ! Fast falls the eventide, 
The darkness deepens — Lord, with me 
abide ! 
When other helpers fail, and comforts flee, 
Help of the helpless, O abide with me ! 

2 Swift to its close ebbs out life's little day ; 
Earth's joys grow dim, its glories pass 

away ; 
Change and decay in all around I see ; 

thou who changest not, abide with me ! 

3 I need thy presence every passing hour ; 
What but thy grace can foil the tempter's 

Who, like thyself, my guide and stay can 

Through cloud and sunshine, Lord, abide 

with me ! 

4 I fear no foe with thee at hand to bless ; 
Ills have no weight, and tears no bitter- 
ness ; 

Where is death's sting? where, grave, thy 

1 triumph still, if thou abide with me. 

5 Hold thou thy cross before my closing 

eyes ; 
Shine through the gloom and point me to 

the skies ; 
Heaven's morning breaks, and earth's vain 

shadows flee ; 
In life, in death, O Lord, abide with me ! 
Henry F. Lyte. 

"Light at Eventide" is the title of this 
truly beautiful hymn, which was first pub- 
lished in leaflet form in September, 1847, 
and later in the author's Remains, pub- 
lished by his daughter in 1850. It is 
based on Luke xxiv. 29: "Abide with us; 
for it is toward evening, and the day is 
far spent." Three verses of the original 
are omitted: 

3 Not a brief glance I beg, a passing word ; 
But, as Thou dwell'dst with Thy disciples, 

Familiar, condescending, patient, free, 
Come, not to sojourn, but abide with me ! 

4 Come not in terrors, as the King of kings, 
But kind and good, with healing in Thy 

Tears for all woes, a heart for every plea ; 
Come, Friend of sinners, and abide with 

me ! 



5 Thou on my head in early youth didst 
smile ; 
And, though rebellious and perverse mean- 
Thou hast not left me, oft as I left Thee : 
On to the close, O Lord, abide with me. 

The circumstances under which this 
hymn was written are full of pathetic 
interest. For twenty-four years the au- 
thor had been curate of Brixham, Devon- 
shire, England, but failing health re- 
quired a change of climate. He himself 
tells how he deprecated being divorced 
from the ocean, the friend and playmate 
of his childhood; and it can only be con- 
jectured how painful to a heart so highly 
susceptible was the prospect of being torn 
from his hardy, seafaring flock. He lin- 
gered with them until life was fast ebb- 
ing, and then writes: "The swallows are 
preparing for flight and inviting me to 
accompany them; and yet, alas! while I 
talk of flying, I am just able to crawl." 
Thus, frail and feeble, he rallied to preach 
a farewell sermon to his fond people and 
once more to administer to ihem the 
Lord's Supper. His theme that day was: 
"The Believer's Dependence upon the 
Death of Christ." It was September 4, 
1847. After closing the deep solemnities 
of the communion, he dragged himself 
wearily back to his home. That after- 
noon he walked down the garden path to 
the seashore, and, returning to his study, 
wrote out this immortal heart song, which 
he placed that evening in the hands of a 
near and dear relative. 

The following poem, titled "Ere the 
Night Fall," is by the author of this hymn, 
and is closely akin to it in sentiment. It 
is one of the most beautiful expressions 
in all poetry of a desire for earthly im- 
mortality that every Christian poet can 
well afford to cherish. 

Why do I sigh to find 
Life's evening shadows gathering round my 

The keen eye dimming, and the buoyant mind 
Unhinging day by day? 

I want not vulgar fame — 
I seek not to survive in brass or stone ; 
Hearts may not kindle when they hear my 

Nor tears my value own ; 

But might I leave behind 
Some blessing for my fellows, some fair trust 
To guide, to cheer, to elevate my kind, 

When I am in the dust ; 

Might verse of mine inspire 
One virtuous aim, one high resolve impart, 
Light in one drooping soul a hallowed fire, 

Or bind one broken heart ; 

Death would be sweeter then, 
More calm my slumber 'neath the silent 

sod, — 
Might I thus live to bless my fellow-men, 

Or glorify my God ! 

O Thou whose touch can lend 
Life to the dead, Thy quickening grace supply, 
And grant me, swanlike, my last breath to 

In song that may not die ! 

A few years ago an American pastor, 
in visiting the cemetery at Nice where the 
author is buried, found a young man 
standing reverently beside the grave of 
Lyte, his eyes filled with tears. The 
young man told him with deep feeling 
that he had been led to Christ through 
the influence of this hallowed song. 


L. M. 

THUS far the Lord hath led me on, 
Thus far his power prolongs my days ; 
And every evening shall make known 
Some fresh memorial of his grace. 

2 Much of my time has run to waste, 

And I, perhaps, am near my home ; 
But he forgives my follies past, 

And gives me strength for days to come. 

3 I lay my body down to sleep ; 

Peace is the pillow for my head ; 
While well-appointed angels keep 

Their watchful stations round my bed. 

4 Thus when the night of death shall come, 

My flesh shall rest beneath the ground, 
And wait thy voice to rouse my tomb, 
With sweet salvation in the sound. 

Isaac Watts. 

Title: "An Evening Hymn," from 
Hymns and Spiritual Songs, Book I., 
1709. Unaltered. 



Two stanzas, the fourth and fifth, are 
left out: 

4 In vain the sons of earth and hell 

Tell me a thousand frightful things ; 
My God in safety makes me dwell 
Beneath the shadow of his wings. 

5 Faith in his name forbids my fear, 

O may thy presence n'er depart ! 
And in the morning make me hear 
The love and kindness of thy heart. 

These omitted verses are well worth re- 

On the whole it is a soliloquy rather 
than a hymn. It is very suitable for pri- 
vate or family worship, but it is not spe- 
cially adapted for public use. 


8s, 7s. 

SILENTLY the shades of evening 
Gather round my lowly door ; 
Silently they bring before me 
Faces I shall see no more. 

2 O the lost, the unforgotten, 

Though the world be oft forgot ! 
O the shrouded and the lonely, 
In our hearts they perish not ! 

3 Living in the silent hours, 

Where our spirits only blend, 
They, unlinked with earthly trouble, 
We, still hoping for its end. 

4 How such holy memories cluster, 

Like the stars when storms are past, 
Pointing up to that fair heaven 
We may hope to gain at last ! 

Christopher C. Cox. 

This sad, sweet strain is a poetical rev- 
erie and meditation at eventide concern- 
ing loved ones that are gone but not for- 
gotten. It is said to have been printed 
first in a newspaper about 1840. It is 
found in 'Woodworth's Cabinet. 1847, and 
some authorities assign 1846 as the date 
of its composition. The internal evidence, 
in the absence of definite knowledge, 
would favor the later date, in view of the 
fact that in 1840 the author, a practicing 
physician, was only twenty-four years 
old; and it is not altogether natural for 
one so young as that to indulge in this | 
particular kind of a reverie concerning! 

departed loved ones. It is such a poem 
as we would most naturally expect to 
come from one considerably advanced in 



SOFTLY now the light of day 
Fades upon our sight away ; 
Free from care, from labor free, 
Lord, we would commune with thee. 

2 Thou, whose all-pervading eye 
Naught escapes, without, within. 
Pardon each infirmity, 

Open fault, and secret sin. 

3 Soon from us the light of day 
Shall forever pass away ; 
Then, from sin and sorrow free, 
Take us, Lord, to dwell with thee. 

George W. Doane. 

Author's title: ''Evening :" from Songs 
by the Way. 1824. It is based on Psalm 
cxli. 2: "Let my prayer be set forth be- 
fore thee as incense; and the lifting up 
of my hands as the evening sacrifice." 

The writer used the first person singu- 
lar in stanzas one and three. The hymn 
has been improved by omitting the last 
verse. We give it because it completes 
the hymn as published by the author: 

Thou who, sinless, yet hast known 

All of man's infirmity ; 
Then, from Thine eternal throne, 

Jesus, look with pitying eye. 

5± L- M. 

AT even, e'er the sun was set, 
The sick, O Lord, around thee lay ; 
O in what divers pains they met ! 
O with what joy they went away ! 

2 Once more 'tis eventide, and we, 

Oppressed with various ills, draw near ; 
What if thy form we cannot see? 
We know and feel that thou art here. 

3 O Saviour Christ, our woes dispel ; 

For some are sick and some are sad, 
And some have never loved thee well, 
And some have lost the love they had. 

4 And none, O Lord, have perfect rest, 

For none are wholly free from sin ; 
And they who fain would serve thee best 
Are conscious most of wrong within. 



5 O Saviour Christ, thou too art Ma.- ; 

Thou hast been troubled, tempted, tried ; 
Thy kind but searching glance can scan 
The very wounds that shame would hide. 

6 Thy touch has still its ancient power, 

No word from thee can fruitless fall ; 
Hear in this solemn evening hour, 
And in thy mercy heal us all. 

Henry Twells. 

"Evening" 1 is the title which this hymn 
bears in the appendix to Hymns Ancient 
and Modern, 1868, for which it was writ- 
ten at the request of the author's friend, 
Sir Henry Baker, who thought there was 
a special need for an evening hymn in 
the collection which he was making. It 
is based on Mark i. 32, "At even when the 
sun did set they brought unto him all 
that were diseased," and Luke iv. 40: 
"Now when the sun was setting, all they 
that had any sick with divers diseases 
brought them unto him; and he laid his 
hands on every one of them, and healed 

The first line of this hymn has been 
criticised in its form of statement, and 
has been published in an altered form, 
"When the sun was set," or, When the sun 
did set," being substituted for "e'er the 
sun was set." Those who made this criti- 
cism contended that inasmuch as it was 
unlawful among the Jews for a gathering 
of diseased persons to be held before the 
sun had gone down and the Sabbath had 
ended, the proposed change was necessary 
if the opening line of the hymn was to be 
accurate. Canon Twells, while allowing 
Prebendary Thring and others to make 
the proposed change for their use, yet de- 
fended his own form of expression as en- 
tirely consistent with both Mark and 
Luke. (See The Literary Churchman for 
June 9 and 23, 1882.) Two stanzas have 
been omitted: 

And some are pressed with worldly care, 
And some are tried with sinful doubt ; 

And some such grievous passions tear, 
That only thou canst cast them out 

And some have found the world is vain, 
Yet from the world they break not free, 

And some have friends who give them pain 
Yet have not sought a friend in thee. 

55 8s, 7s. 

SAVIOUR, breathe an evening blessing, 
Ere repose our spirits seal ; 
Sin and want we come confessing : 
Thou canst save, and thou canst heal. 

2 Though destruction walk around us, 

Though the arrows past us fly, 
Angel guards from thee surround us ; 
We are safe, if thou art nigh. 

3 Though f-e night be dark and dreary, 

Darkness cannot hide from thee ; 
Thou art he who, never weary, 
Watchest where thy people be. 

4 Should swift death this night o'ertake us, 

And our couch become our tomb, 
May the morn in heaven awake us, 
Clad in light and deathless bloom. 

James Edmeston. 

This hymn appears without title in 
Sacred Lyrics, by James Edmeston, Lon- 
don, 1820. It has not been changed. It 
is well adapted for private worship, and 
we need just such hymns, for the Hymnal 
is designed for home use as well as for 
public service. 


7, 7, 7, 5. 

OLY Father, cheer our way 

With thy love's perpetual ray ; 
Grant us every closing day 
Light at evening time. 

2 Holy Saviour, calm our fears 
When earth's brightness disappears ; 
Grant us in our later years 

Light at evening time. 

3 Holy Spiri* be thou nigh 
When in mortal pains we lie ; 
Grant us, as we come to die, 

Light at evening time. 

4 Holy, blessed Trinity, 
Darkness is not dark to thee ; 
Those thou keepest always see 

Light at evening time. 

Richard H. Robinson. 

This was written in 1869 for the au- 
thor's congregation in St. Paul's Church, 
Upper Norwood, England, and was de- 
signed to be sung after the third collect 



at evening prayer. It appeared in the , 5g 
Church Hymns, published in 1871 by the 
Society for Propagating Christian Knowl- 
edge. It is based on Zechariah xiv. 7: 
"But it shall come to pass that at evening 
time it shall be light." 


11, 11, 11, 5. 

with us, for 

the night is 

57 7, 7, 7, 7, 4. 

DAY is dying in the west ; 
Heaven is touching earth with rest : 
Wait and worship while the night 
Sets her evening lamps alight 

Through all the sky. 
Holy, holy, holy Lord God of Hosts ! 
Heaven and earth are full of thee ! 
Heaven and earth are praising thee, 
O Lord most high ! 

2 Lord of life, beneath the dome 
Of the universe, thy home, 
Gather us who seek thy face 
To the fold of thy embrace, 

For thou art nigh. 
Holy, holy, holy Lord God of hosts ! 
Heaven and earth are full of thee ! 
Heaven and earth are praising thee, 

O Lord most high ! 

Mary A. Lathbury. 

In his Annotations, 1893, Dr. Robinson 
says: "To a Chautauquan the vesper serv- 
ice seems incomplete without the singing 
of this beautiful hymn. It was written at 
the request of Bishop John H. Vincent in 
the summer of 1880, and it is frequently 
sung at the close of the day, when the 
vast company of graduates, students, and 
visitors are assembled for evening 

The author has added two stanzas. 
They worthily complete the poem: 

While the deepening shadows fall, 
Heart of Love enfolding all, 
Through the glory and the grace 
Of the stars that veil thy face 
Our hearts ascend. 

When forever from thy sight 
Pass the stars, the day, the night, 
Lord of angels on our eyes 
Let eternal morning rise 
And shadows end. 

The light and darkness are of his dispos- 

And 'neath his shadow here to rest we 
yield us, 

For he will shield us. 

2 Let evil thoughts and spirits flee before 

us ; 
Till morning cometh, watch, O Master, 
o'er us ; 
In soul and body thou from harm defend us, 
Thine angels send us. 

3 Let holy thoughts be ours when sleep 

o'ertakes us ; 

Our earliest thoughts be thine when morn- 
ing wakes us. 

All sick and mourners we to thee com- 
mend them, 

Do thou befriend them. 

■4 We have no refuge, none on earth to aid us 
But thee, O Father, who thine own hast 

made us. 
Keep us in life ; forgive our sins ; deliver 
Us now and ever. 

5 Praise be to thee through Jesus our salva- 
God, Three in One, the ruler of creation, 
High throned, o'er all thine eye of mercy 

Lord everlasting. 

Petrus Herbert. 
Jr. by Catherine Winkworth. Alt. 

This hymn is said to have been written 
under "the pressure of persecution and 
oppression." Its first appearance was in 
a German hymn book in 1566 in five stan- 
zas of seven lines each. The translation 
here given was first published in Miss 
Winkworth's Choral Book for England, 
1863, and is reproduced in her Christia?i 
Singers of Germany. 1869. The third 
stanza above is made up of the first two 
lines of the third stanza and the second 
two lines of the fourth stanza as found in 
Miss Winkworth's Christian Singers, with 
some verbal alterations. To the original 
five stanzas, it seems, a poetic version of 
the Lord's Prayer and of the doxology 
was added as a sixth and seventh stanza, 
respectively. The Lord's Prayer is found 
in Miss Winkworth's translation, but is 


omitted above, while the doxology given 
as the closing stanza above ic not found 
in Miss Winkworth's translation. 


59 6s, 5s. 

OW the dav is over, 

Night is drawing nigh ; 
Shadows of the evening 

Steal across the sky ; 

2 Jesus, grant the weary 

Calm and sweet repose ; 
With thy tenderest blessing 
May our eyelids close. 

3 Grant to little children 

Visions bright of thee ; 

Guard the sailors tossing 

On the deep, blue sea. 

4 Comfort every sufferer 

Watching late in pain ; 
Those who plan some evil 
From their sins restrain. 

5 Through the long night watches 

May thine angels spread 

Their white wings above me, 

Watching round my bed. 

6 When the morning wakens, 

Then may I arise 
Pure, and fresh, and sinless 
In thy holy eyes. 

Sabine Baring-Gould. 

"Evening" is the title. Dr. Julian says: 
"Written in 1865 and printed in the 
Church Times the same year. In 1868 it 
was given in the Appendix to Hymns An- 
cient and Modern, and from that date it 
has gradually increased in popularity un- 
til its use has become common in all Eng- 
lish-speaking countries." 

The second and last stanzas, which have 
been omitted, are as follows: 

2 Now the darkness gathers, 
Stars begin to peep, 
Birds, and beasts, and flowers 
Soon will be asleep. 
8 Glory to the Father 
Glory to the Sox 
And to Thee Blest Spirit 
Whilst all ages run, Amen. 


9s, 8s. 

THE day thou gavest, Lord, is ended, 
The darkness falls at thy behest, 
To thee our morning hymns ascended, 
Thy praise shall hallow now our rest. 

2 We thank thee that thy Church, unsleeping 

While earth rolls onward into light, 
Through all the world her watch is keeping, 
And rests not now by day or night. 

3 As o'er each continent and island 

The dawn leads on another day, 
The voice of prayer is never silent, 
Nor dies the strain of praise away. 

4 So be it, Lord ; thy throne shall never, 

Like earth's proud empires, pass away ; 
But stand, and rule, and grow forever, 
Till all thy creatures own thy sway. 

John EUerton. 

Written in 1870 to be used as a "Litur- 
gy for Missionary Meetings," after which 
it was revised and published in Church 
Hymns, 1871. An anonymous hymn in 
Church Poetry, 1855, has as its first line 
the identical words with which this hymn 
begins. The continuity of the sunlight, 
advancing ever forward with the revolv- 
ing earth, is here used in an expressive 
and beautiful manner as a symbol of the 
continuity of spiritual worship and of 
evangelizing agencies that are always at 
work and moving forward in the world. 

61 10s. 61. 

THE day is gently sinking to a close, 
Fainter and yet more faint the sunlight 
glows : 
O Brightness of thy Father's glory, thou 
Eternal Light of light, be with us now : 
Where thou art present, darkness cannot 

Midnight is glorious noon, O Lord, with 

2 Our changeful lives are ebbing to an end ; 
Onward to darkness and to death we tend ; 
O Conqueror of the grave, be thou our 

guide ; 
Be thou our light in death's dark eventide : 
Then in our mortal hour will be no gloom, 
No sting in death, no terror in the tomb. 

3 Thou, who in darkness walking didst ap- 

Upon the waves, and thy disciples cheer, 
Come, Lord, in lonesome days, when 

storms assail, 
And earthly hopes and human succors fail : 
When all is dark may we behold thee nigh 
And hear thy voice, "Fear not, for it is I." 



4 The weary world is moldering to decay, 
Its glories wane, its pageants fade away; 
In that last sunset when the stars shall fall, 
May we arise awakened by thy call, 
With thee, O Lord, forever to abide 
In that blest day which has no eventide. 
Christopher Wordsworth. 

Title: "Evening." A hymn of real mer- 
it, especially adapted to close an evening 
service. It was written in 1863 and pub- 
lished in the author's Holy Year, third 
edition, 1863. 


C. M. D. 

THE shadows of the evening hours 
Fall from the darkening sky ; 
Upon the fragrance of the flowers 

The dews of evening lie. 
Before thy throne, O Lord of heaven, 

We kneel at close of day ; 
Look on thy children from on high, 
And hear us while we pray. 

2 The sorrows of thy servants, Lord, 

O do not thou despise, 
But let the incense of our prayers 

Before thy mercy rise. 
The brightness of the coming night 

Upon the darkness rolls ; 
With hopes of future glory chase 

The shadows from our souls. 

3 Slowly the rays of daylight fade : 

So fade within our heart 
The hopes in earthly love and joy, 

That one by one depart. 
Slowly the bright stars, one by one, 

Within the heavens shine : 
Give us, O Lord, fresh hopes in heaven, 

And trust in things divine. 

4 Let peace, O Lord, thy peace, O God, 

Upon our souls descend ; 
From midnight fears, and perils, thou 

Our tremoling hearts defend. 
Give us a respite from our toil ; 
Calm and subdue our woes ; 
Through the long day we labor, Lord, 
O give us now repose. 

Adelaide A. Procter. 
"Evening" is the title of this hymn in 
the enlarged edition of the author's Leg- 
ends and Lyrics, published in 1862. 

A very fine and poetic prayer-song, 
worthy of frequent use in evening wor- 
ship. It well illustrates the truth that po- 
etic figure is not incompatible with hym- 
nic merit. 


C. M. 

COME, let us join with one accord 
In hymns around the throne ! 
This is the day our rising Lord 
Hath made and called his own. 

2 This is the day which God hath blest, 

The brightest of the seven, 

Type of that everlasting rest 

The saints enjoy in heaven. 

3 Then let us in his name sing on, 

And hasten to that day 
When our Redeemer shall come down, 
And shadows pass away. 

4 Not one, but all our days below, 

Let us in hymns employ ; 
And in our Lord rejoicing, go 
To his eternal joy. 

Charles Wesley. 

Title: "For the Lord's Day." Unal- 
tered and entire from Hymns for Chil- 
dren, 1763. The preface to this booklet 
contained the following paragraph: 

There are two ways of writing or speak- 
ing to children : the one is to let ourselves 
down to them ; the other, to lift them up to 
us. Dr. Watts has written in the former way, 
and has succeeded admirably well, speaking 
to children as children and leaving them as 
he found them. The following hymns are 
written on the other plan : they contain strong 
and manly sense, yet expressed in such plain 
and easy language as even children may un- 
derstand. But when they do understand 
them, they wall be children no longer only in 
years and in stature. 

History shows that this philosophy is 
erroneous. The man who would commu- 
nicate with children must humble him- 
self to the child's understanding. Dr. 
Watts's method was vastly successful. 
No man can estimate the influence of his 
Divine Songs for Children on generations 
of youth. The man who wrote for adults, 

Wide as the world is thy command, 
Vast as eternity thy love, 

wrote for little children: 

How doth the little busy bee 
Improve each shining hour, 

And gather honey all the day 
From every opening flower. 

The Wesleyan "plan" was a failure. The 



only one of these hymns that has had a 
wide influence with children is the one be- 

Gentle Jesus, meek and mild, 
Look upon a little child, 

and this was written in violation of the 
Wesleyan teaching. It is plain that John 
Wesley did not understand children. 



S. M. 

ELCOME, sweet day of rest, 
That saw the Lord arise ; 

Welcome to this reviving breast, 
And these rejoicing eyes ! 

2 The King himself comes near, 

And feasts his saints to-day ; 
Here we may sit, and see him here, 
And love, and praise, and pray. 

3 One day in such a place, 

Where thou, my God, art seen, 
Is sweeter than ten thousand days 
Of pleasurable sin. 

4 My willing soul would stay 

In such a frame as this, 
And sit and sing herself away 
To everlasting bliss. 

Isaac Watts. 

Author's title: "The Lord's Day; or, 
Delight in Ordinances:' From Hymns 
and Spiritual Songs, 1707. The original 
of the third stanza, lines one and two, is: 

One day amidst the place 

Where my dear God hath been. 

The third stanza appropriates very 
beautifully the thought of the Psalmist: 
"For a day in thy courts is better than a 
thousand. I had rather be a doorkeeper 
in the house of my God than to dwell in 
the tents of wickedness." (Ps. lxxxiv. 



C. M. 

ITH joy we hail the sacred day, 
Which God has called his own 

With joy the summons we obey, 
To worship at his throne. 

2 Thy chosen temple, Lord, how fair ! 
As here thy servants throng 
To breathe the humble, fervent prayer, 
And pour the grateful song. 

3 Spirit of grace ! O deign to dwell 

Within thy church below ; 
Make her in holiness excel, 
With pure devotion glow. 

4 Let peace within her walls be found ; 

Let all her sons unite, 
To spread with holy zeal around 
Her clear and shining light. 

5 Great God, we hail the sacred day 

Which thou hast called thine own ; 
With joy the summons we obey 
To worship at thy throne. 

Harriet Auber. 

This is based on Psalm cxxii.: "I was 
glad when they said unto me, Let us go 
into the house of the Lord," etc. Three 
lines have been altered. 

In verse two, line two, the author 
wrote : 

Where willing votaries throng. 

Verse two, line four: 

And pour the choral song. 

Verse four, line three: 
To spread with grateful zeal around. 

The last stanza is practically a repeti- 
tion of the first, and was made by some 
hymn editor. 

From The Spirit of the Psalms, London, 



S. M. 

AIL to the Sabbath day ! 

The day divinely given, 
When men to God their homage pay, 

And earth draws near to heaven. 

Lord, in this sacred hour 

Within thy courts we bend, 
And bless thy love, and own thy power, 

Our Father and our Friend. 

3 But thou art not alone 

In courts by mortals trod ; 
Nor only is the day thine own 
When man draws near to God : 

4 Thy temple is the arch 

Of yon unmeasured sky ; 
Thy Sabbath, the stupendous march 
Of vast eternity. 

5 Lord, may that holier day 

Dawn on thy servants' sight ; 
And purer worship may we pay 
In heaven's unclouded light. 

Stephen G. Bulfinch. 



From the author's Contemplations of 
the saviour: A Series of Extracts from 
the Gospel History, with Reflections, and 

Original and Selected Hymns, Boston, 
1832, where it is appended to the author's 
reflection upon "The "Walk through the 
Cornfields." The author was only twen- 
ty-two years old when he wrote this hymn. 
His father enjoys international fame as 
the architect of the national capitol at 


6, 6, 6, 6, 8, 8. 

WELCOME, delightful morn, 
Thou day of sacred rest ! 
I hail thy kind return ; 

Lord, make these moments blest : 
From the low train of mortal toys, 
I soar to reach immortal joys. 

2 Now may the King descend, 

And fill his throne with grace ; 
Thy scepter, Lord, extend, 

While saints address thy face : 
Let sinners feel thy quickening word, 
And learn to know and fear the Lord. 

3 Descend, celestial Dove, 

With all thy quickening powers ; 
Disclose a Saviour's love, 

And bless the sacred hours : 
Then shall my soul new life obtain, 
Nor Sabbaths be enjoyed in vain. 

Hai/icard, in D obeli's SeJectioyi. 

Title: "Sabbath Morning." Only one 
word has been changed. The author 
wrote the last line: "Nor Sabbaths be in- 
dulg'd in vain." 

Dobell's Xew Selection, 1806, was a book 
of special value in its day. It contained 
many new hymns by various authors. 
Some of them are still in common use. 
"Hayward" is simply a name. Nothing 
is known of this author. 

68 " s > Gs - D - 

DAT of rest and gladness, 

O day of joy and light, 
O balm of care and sadness, 

Most beautiful, most bright : 
On thee, the high and lowly, 

Through ages joined in tune, 
Sing "Holy, Holy, Holy." 

To the great God Triune. 

2 On thee, at the creation, 

light first had its birth ; 
On thee, for our salvation, 

Chris-t rose from depths of earth ; 
On thee, our Lord, victorious, 

The Spirit s. nt from heaven; 
And thus on thee, most glorious, 

A triple light was given. 

3 To-day on weary nations 

The heavenly manna falls ; 
To holy convocations 

The silver trumpet calls, 
Where gospel light is glowing 

With pure and radiant beams, 
And living water flowing 

With soul-refreshing streams. 

4 New graces ever gaining 

From this our day of rest, 
We reach the rest remaining 

To spirits of the blest ; 
To Holy Ghost be praises, 

To Father, and to Son ; 
The Church her voice upraises 

To thee, blest Three in One. 

Christopher Wordsworth. 

"Sunday" is the title which this hymn 
bears in the author's volume titled The 
Holy Year; or. Hymns for Sundays and 
Holydays, 1862, where it appears as the 
opening hymn. The fact that the author 
is a nephew of William Wordsworth, the 
poet, adds interest to this hymn. The two 
omitted stanzas are: 

3 Thou art a port, protected 

From storms that round us rise ; 
A garden, intersected 

With streams of Paradise ; 
Thou art a cooling fountain, 

In life's dry, dreary sand, 
From thee, like Pisgah's mountain, 

We view the promised land. 

4 Thou art a holy ladder, 

Where Angels go and come ; 
Each Sunday finds us gladder, 

Nearer to Heaven, our home. 
A day of sweet reflection 

Thou art, a day of love, 
A day of Resurrection 

From earth to things above. 

69 7s. 61. 

SAFELY through another week, 
God has brought us on our way ; 
Let us now a blessing seek, 

Waiting in his courts to-day : 
Day of all the week the best, 
Emblem of eternal rest. 



2 While we pray for pardoning grace, 

Through the dear Redeemer's name, 
Show thy reconciled face, 

Take away our sin and shame ; 
From our worldly cares set free, 
May we rest this day in thee. 

3 Here we come thy name to praise ; 

May we feel thy presence near : 
May thy glory meet our eyes, 

While we in thy house appear : 
Here afford us, Lord, a taste 
Of our everlasting feast. 

4 May thy gospel's joyful sound 

Conquer sinners, comfort saints ; 
Make the fruits of grace abound, 

Bring relief for all complaints : 
Thus may all our Sabbaths prove, 
Till we join the church above. 

John Newton. 

From Olney Hymns, 1779. The author's 
title was "Saturday Evening." Several 
lines have been changed to adapt it to 
Sunday singing. One stanza, the second, 
has been omitted: 

Mercies multiplied each hour, 

Through the week our praise demand ; 

Guarded by Almighty power, 
Fed and guided by his hand ; 

Though ungrateful we have been, 

Only made returns of sin. 

70 L- M. 

ANOTHER six days' work is done ; 
Another Sabbath is begun : 
Return, my soul, enjoy thy rest, 
Improve the day thy God hath blest. 

2 O that our thoughts and thanks may rise, 
As grateful incense, to the skies ; 

And draw from Christ that sweet repose 
Which none but he that feels it knows ! 

3 This heavenly calm within the breast 
Is the dear pledge of glorious rest 
Which for the Church of God remains, 
The end of cares, the end of pains. 

4 In holy duties let the day, 

In holy comforts, pass away ; 

How sweet, a Sabbath thus to spend, 

In hope of one that ne'er shall end ! 

Joseph Stennett. 

The original of this hymn contains four- 
teen stanzas, of which the above are the 
first, tenth, eleventh, and thirteenth. The 
author was pastor of a Seventh-Day Bap- 

tist Church, but there is nothing in this 
hymn to render it inapplicable to the first 
day of the week. This hymn, along with 
many others, is found in the author's Col- 
lected Works, published in 1732, where it 
bears the title, "On the Saobath. ,: 


L. M. 

SWEET is the work, my God, my King, 
To praise thy name, give thanks and sing : 
To show thy love by morning light, 
And talk of all thy truth by night. 

2 Sweet is the day of sacred rest ; 

No mortal cares shall seize my breast ; 
O may my heart in tune be found, 
Like David's harp of solemn sound. 

3 When grace has purified my heart, 
Then I shall share a glorious part ; 
And fresh supplies of joy be shed, 
Like holy oil, to cheer my head. 

4 Then shall I see, and hear, and know 
All I desired or wished below ; 

And every power find sweet employ 
In that eternal world of joy. 

Isaac Watts. 

Title: "A Psalm for the Lord's Day." 
This precious old hymn, which has 
helped multitudes to worship God, is a 
metrical version of the first pari of Psalm 
xcii. The third, fourth, and sixth stanzas 
have been left out: 

3 My heart shall triumph in my Lord, 

And bless his works, and bless his word : 
Thy works of grace how bright they shine ! 
How deep thy counsels ! how divine ! 

4 Fools never raise their thoughts so high ; 
Like brutes they live, like brutes they die ; 
Like grass they flourish till thy breath 
Blasts them in everlasting death. 

6 Sin, my worst enemy before, 

Shall vex my eyes and ears no more ; 
My inward foes shall all be slain, 
Nor Satan break my peace again. 

The first couplet of the third stanza has 
been transposed and changed. Watts 

But I shall share a glorious part 
When grace hath well refined my heart. 

It is not otherwise altered. Date of pub- 
lication, 1719. 



72 ° s - D- 

THE dawn of God's dear Sabbath 
.ks o'er the earth again, 

t summer morning 
After a night of pain : 
It comes as cooling showers 
To some exhausted land, 

~:iade of clustered palm trees 
"Mid weary wastes of sand. 

2 And we would bring our burden 

Of sinful thought and deed, 
In thy pure presence kneeling, 

From bondage to be freed : 
Our heart's most bitter sorrow 

For all thy work undone ; 
So many talents wasted ! 

So few bright laurels won ! 

3 And with that sorrow mingling, 

A steadfast faith, and sure, 
And love so deep and fervent, 

That tries to make it pure : 
In his dear presence finding 

The pardon that we need : 
And then the peace so lasting — 

Celestial peace indeed ! 

Ada C. Cross. 

From the author's Hymns on the Holy 
Communion. 1S66. This hymn is marked 
by great sweetness and purity of rhythm. 


L. M. 

LORD of the Sabbath, hear our vows. 
On this thy day. in this thy house, 
And own, as grateful sacrifice, 
The songs which from thy servants rise. 

2 Thine earthly Sabbaths, Lord, we love : 
But there's a nobler rest above : 

To that our laboring souls aspire, 
With ardent hope and strong desire. 

3 Xo more fatigue, no more distv 

Nor sin nor hell, shall reach the place ; 

-ighs shall mingle with the songs, 
Which warble from immortal tongues. 

4 No rude alarms of raging foes, 
No cares to break the long repose ; 
No midnight shade, no clouded sun, 
But sacred, high, eternal noon. 

Philip Doddridge. 

Title: "The Eternal Sabbath." Written 
to be sung at the close of a sermon 
preached June 2. 1736. Text: "There re- 
maineth therefore a rest to the people of 
God." (Heb. iv. 9.) 

It is found in Hymns Founded on Vari- 
ous Texts in the Holy Scriptures, by P. 
Doddridge; edited by Job Orton, 1755. In 
the last line of the first stanza the author 
wrote: "The songs which from the Desert 
rise." In the last line of the second stan- 
za the original is: "With ardent Pangs of 
strong Desire." The third line of the 
third stanza originally read: "Groans to 
mingle with the Songs." 

One stanza, the fifth, has been omitted: 

5 O long-expected day, begin ! 

Dawn on these realms of woe and sin : 
Fain would we leave this weary road, 
And sleep in death, to rest with God. 

The reason for this omission was that the 
Commission thought the Hymnal con- 
tained too frequent expression of a "de- 
sire to depart." It is all right for the 
worn-out veteran who has "fought a good 
fight," but the young and the vigorous 
should wish to stay and fight on. 

74 7s. 

SOFTLY fades the twilight ray 
Of the holy Sabbath day ; 
Gently as life's setting sun, 
When the Christian's course is run. 

2 Peace is on the world abroad ; 
'Tis the holy peace of God, 

S tnbol of the peace within 
When the spirit rests from sin. 

3 Saviour, may our Sabbaths be 
Days of joy and peace in thee, 
Till in heaven our souls repose, 
Where the Sabbath ne'er shall close. 

Samuel F. Smith. 

This hymn was written in 1S32. and was 
contributed by the author to the Psalmist, 
a Baptist collection, published in 1S43. 
Two stanzas are omitted: 

2 Night her solemn mantle spreads 
O'er the earth as daylight fades ; 
All things tell of calm repose, 
At the holy Sabbath's close. 

4 Still the Spirit lingers near, 
Where the evening worshiper 

- ks communion with the skies, 
Pressing onward to the prize. 


75 C. M. 

A THOUSAND oracles divine 
Their common beams unite, 
That sinners may with angels join 
To worship God aright. 

2 Triumphant host ! they never cease 

To laud and magnify 
The Triune God of holiness, 
Whose glory fills the sky ; 

3 Whose glory to this earth extends, 

When God himself imparts, 
And the whole Trinity descends 
Into our faithful hearts. 

4 By faith the upper choir we meet, 

And challenge them to sing 
Jehovah, on his shining seat, 
Our Maker and our King. 

5 But God made flesh is wholly ours, 

And asks our nobler strain : 
The Father of celestial powers, 
The Friend of earthborn man. 

Charles Wesley. 

From Hymns on the Trinity, 1767. The 
original contains four eight-lined stanzas. 
These are half the first and all of the sec- 
ond and third. The thought of the last 
line is beautifully expressed by Edward 
Young in his Xight Thoughts: 

O how Omnipotence 
Is lost in love ! thou great Philanthropist, 
Father of angels, but the friend of man. 

In verse four, line four, the author 
wrote: "Our Maker, God. and King." 

The third verse of the hymn is a grand 
one. The following omitted stanza is 
equally remarkable: 

Ye seraphs nearest to the throne, 

With rapturous amaze 
On us poor ransomed worms look down, 

For Leaven's superior praise. 

The thought is beautiful, yet it is not 
new nor original with Wesley, that re- 
deemed men can and ought to excel the 
angels in praise to God. This thought 

also was suggested by a passage in the 
Xight Thoughts, as will be seen at a 
glance by comparing the last line in the 
stanza just quoted with the last of the 
following four lines from Dr. Young: 

This theme is man's, and man's alone ; 
Their vast appointments reach it not : they see 
On earth a bounty not indulged on high, 
And downward look for Heaven's superior 
praise ! 

Charles Wesley, writing in July, 1754, 
says: "I began once more transcribing 
Young's Xight Thoughts. No writings but 
the inspired are more useful to me." 

Not only were these individual verses 
inspired by Dr. Young, but his Hymns on 
the Trinity were really suggested by a 
volume by Rev. William Jones, of the Es- 
tablished Church, titled The Catholic Doc- 
trine of a Trinity proved by above an hun- 
dred short d clear arguments, expressed in 
the terms of Holy Scripture. It was first 
published in 1754, and in a new and en- 
larged edition in 1767. Following the or- 
der and using the Scriptures quoted in 
this book, Wesley wrote a hymn for each. 
That Wesley's phraseology was sometimes 
derived from this volume will be seen by 
comparing the first verse of the hymn 
above with the following sentence taken 
from the preface of Mr. Jones's book: "In 
the fourth and last chapter the passages 
of the Scripture have been laid together 
and made to unite their beams in one com- 
mon center, the Unity of the Trinity." 


lis, 10s. 

ANCIENT of Days, who sittest throned in 
To thee all knees are bent, all voices 
pray ; 
Thy love has blessed the wide world's won- 
drous story 
With light and life since Eden's dawning 




2 O Holy Father, who hast led thy children 

In all the ages, with the fire and cloud, 
Through seas dry-shod, through weary 

wastes bewildering, 
To thee, in reverent love, our hearts are 


3 O Holy Jesus, Prince of Peace and Sav- 


To thee we owe the peace that still pre- 
Stilling the rude wills of men's wild behav- 

And calming passion's fierce and stormy 

4 O Holy Ghost, the Lord and the Life-giver, 

Thine is the quickening power that gives 

increase ; 
From thee have flowed, as from a pleasant 

Our plenty, wealth, prosperity, and peace. 

5 O Triune God, with heart and voice adoring, 

Praise we the goodness that doth crown 
our days ; 
Pray we that thou wilt hear us, still im- 
Thy love and favor, kept to us always. 
William C. Doane. 

This was written in 1886. In reply to a 
letter inquiring as to the origin of this 
hymn, Bishop Doane replied as follows in 
a letter dated August 20, 1907: 

The hymn to which you refer was written 
to be sung at the bicentenary of the charter 
of Albany as a city. Of course it was not 
exactly in its present shape then, but was 
somewhat changed in form when the commit- 
tee decided to put it in our Church Hymnal. 
This is not a matter of very great impor- 
tance, but gives you the facts about which 

you ask. 


Bishop Doane has given us here a most 
valuable hymn to the Trinity, each of the \ 
three Persons of the Godhead being ad- 
dressed in succeeding stanzas. 

2 Thousands, tens of thousands, stand, 

Spirits l)l< si, i>< Core thy throne, 
Speeding thence at thy command, 

And, when thy behests are done, 
Singing everlastingly 
To the blessed Trinity. 

3 Cherubim and seraphim 

Veil their faces with their wings; 
Eyes of angels are too dim 

To behold the King of kings, 
While they sing eternally 
To the blessed Trinity. 

4 Thee apostles, prophets thee, 

Thee the noble martyr band, 
Praise with solemn jubilee ; 

Thee, the church in every land ; 
Singing everlastingly 
To the blessed Trinity. 

5 Halleluiah ! Lord, to thee, 

Father, Son, and Holy Ghost, 
Godhead one, and persons three, 

Join we with the heavenly host, 
Singing everlastingly 
To the blessed Trinity. 

Christopher Wordsworth. 

Title: "Trinity Sunday." From the au- 
thor's Holy Year, London, 1862. The orig- 
inal has eight stanzas; these are verses 
one, three, four, five, and eight, unaltered. 
This is a singable hymn that any congre- 
gation can use with joy and profit. It is 
based upon, and was no doubt inspired by, 
the Te Deum, one of the grandest anthems 
of the Christian Church. 


11, 12, 12. 10. 


4 i 


7s. 61. 

OLY, holy, holy, Lord 

God of Hosts, eternal King, 

By the heavens and earth adored ! 
Angels and archangels sing, 

Chanting everlastingly 

To the blessed Trinity. 

OLY, holy, holy, Lord God Almighty ! 

Early in the morning our song shall rise 
to thee ; 
Holy, holy, holy, merciful and mighty, 
God in three Persons, blessed Trinity. 

2 Holy, holy, holy ! all the saints adore thee, 

Casting down their golden crowns around 

the glassy sea ; 
Cherubim and seraphim falling down before 

Which wert, and art, and evermore shalt 


3 Holy, holy, holy ! though the darkness hide 

Though the eye of sinful man thy glory 

may not see ; 
Only thou art holy ; there is none beside 

Perfect in power, in love, and purity. 



4 Holy, holy, holy, Lord God Almighty ! 

All thy works shall praise thy name, in 
earth, and sky, and sea ; 
Holy, holy, holy, merciful and mighty, 
God in three Persons, blessed Trinity ! 
Reginald Heber. 

This hymn for "Trinity Sunday" was 
first published in 1826 in A Selection of 
Psalms and Hymns for the Parish Church 
of Banbury, third edition. This was the 
year the author died, which sad event 
occurred in India, where he was mission- 
ary Bishop of Calcutta. The following 
year his widow gathered together all of 
tlie fifty-seven hymns which he had writ- 
ten and published them in a volume titled 
Hymns Written and Adapted to the Week- 
ly Church Service of the Year. 

Lord Tennyson once declared to Bishop 
Welldon that he regarded this hymn on I 
the Holy Trinity as the finest hymn ever | 
written. It is certainly one of the noblest | 
and most majestic odes ever addressed to 
the Divine Being, and is in every way I 
worthy of the author of the most popular | 
missionary hymn ever written, "From | 
Greenland's icy mountains." The tune to J 
which it is commonly sung, and which is | 
so well adapted to the words, is very ap- 
propriately named Nicwa, after the first 
great ecumenical council of the Christian 
Church, at which the Bible doctrine of the 
Trinity was formulated. Tune and words 
unite to fill the soul of the devout wor- 
shiper with feelings of awe and a sense 
of the divine Presence. It is based on j 
Revelation iv. 8: "And they rest not day 
and night,, saying, Holy, holy, holy, Lord 
God Almighty, which was, and is, and is l 
to come." Also Isaiah vi. 3: "And one 
cried unto another, and said, Holy, holy, 
holy, is the Lord of hosts: the whole earth 
is full of his glory." 

All of Heber's hymns, it is said, were 
written while he was rector at Hodnett 
(1807-12), and many of them were printed 
at the time in the Christian Observer, be- 
ing signed with the initials "D. R.," which 
are the last letters of his name. Julian 

says in his Dictionary that all of He- 
ber's hymns are in common use in En- 
gland and America, and, with very few ex- 
ceptions, in the original form in which the 
author wrote them — which, considering 
that the author has been dead eighty 
years, is the highest tribute that can pos- 
sibly be paid to the undying influence and 
popularity of this rarely gifted hymn- 
writer and saintly missionary bishop. 

Some, though not all, will appreciate 
and indorse the words of W. Garrett Hor- 
der, who is one of the most judicious and 
discriminating of English hymnologists: 

A hymn of great beauty and full of rich 
lyric feeling. Its only fault, in my judgment, 
is the too metaphysical line, "God in three 
Persons, blessed Trinity," due in all prob- 
ability to the fact that it was written for 
Trinity Sunday. In hymns dogma should 
take on the softened form of poetry and be a 
pervading spirit, not a metaphysical declara- 
tion. Indeed the doctrine of the Trinity 
finds much more spiritual expression in Scrip- 
ture than in the creeds of the Church of 
which, when he wrote this line, the good Bish- 
op's mind was evidently full. 

It may seem to the reader and student 
of hymnology that the selection of hymns 
here addressed to the Trinity is unac- 
countably small, being only four in num- 
ber. This is due to the fact that several 
very valuable hymns, appropriate under 
this head, have oeen placed by the editors 
of the Hymnal under other heads to which 
they also properly belong. The reader 
should compare with the four hymns 
given above the following, which are ad- 
dressed either in whole or in part to the 
Trinity — viz., those beginning, "Come, 
thou Almighty King" (No. 2), "Infinite 
God, to thee we raise" (No. 10), "Praise 
ye Jehovah" (No. 20), "Angel voices ever 
singing" (No. 27), "We lift our hearts to 
thee" (No. 45), "Now God be with us, for 
the night is closing" (No. 58), "Thou 
whose almighty word" (No. 629), and oth- 
ers. These, taken all together, make a 
noble volume of praise to the Triune God. 



C. M. 

FATHER, how wide thy glory shines, 
How high thy wonders rise ! 
Known through the earth by thousand 
signs, . 
By thousands through the skies. 

2 Those mighty orbs proclaim thy power ; 

Their motions speak thy skill : 
And on the wings of every hour 
We read thy patience still. 

3 But when we view thy strange design 

To save rebellious worms, 
"Where vengeance and compassion join 
In their divinest forms ; 

4 Our thoughts ar j lost in reverent awe ; 

We love and we adore : 
The first archangel never saw 
So much of God before. 

5 Here the whole Deity is known, 

Nor dares a creature guess 
Which of the glories brighter shone, 
The justice or the grace. 

6 Now the full glories of the Lamb 

"Adorn the heavenly plains; 
Bright seraphs learn Immanuel's nams, 
And try their choicest strains. 

7 O may I bear some humble part 

In that immortal song ! 
Wonder and joy shall tune my heart, 
And love command my tongue. 

Isaac Watts. 

This hymn was first published in the 
first edition of Horw Lyrica, 1076, with 
the title, "God Appears Most Glorious in 
Our Salvation by Christ." It appears in 
the second edition of Horce Lyricw, 1709, 
in nine stanzas, under the title, "God Glo- 
rious, and Sinners Saved." Two inferior 
verses have been omitted, and a few verbal 
changes have been made. 

Watts was fond of comparing and con- 
trasting nature and redemption as modes 
of revealing the goodness and glory of 
God. Nature could manifest his attributes 
in part, but it was reserved for redemp- 
tion to manifest all his attributes and es- 
pecially his wisdom, holiness, and love. 
Here alone ''the whole Deity is known." 


L. M. 

GOD is the name my soul adores, 
The almighty Three, the eternal One: 
Nature and grace, with all their powers, 
Confess the Infinite Unknown. 

2 Thy voice produced the sea and spheres, 

Bade the waves roar, the planets shine ; 
But nothing like thyself appears 

Through all these spacious works of 

3 Still restless nature dies and grows ; 

From change to change the creatures 
run : 
Thy being no succession knows, 
And all thy vast designs are one. 

4 A glance of thine runs through the globe, 

Rules the bright worlds, and moves their 
frame ; 
Of light thou form'st thy dazzling robe : 
Thy ministers are living flame. 

5 How shall polluted mortals dare 

To sing thy glory or thy grace? 
Beneath .hy feet we lie afar, 

And see but shadows of thy face. 

6 Who can behold the blazing light? 

Who can approach consuming flame? 
None but thj r wisdom knows thy might ; 
None but thy word can speak thy name. 
Isaac Watts. 

"The Creator and Creatures" is the au- 
thor's title in Horw Lyricw. 1706. Of the 
two omitted stanzas, one is: 

2 From thy great Self thy Being springs ; 
Thou art thine own Original, 
Made up of uncreated Things, 

And Self-sufncience bears them all. 

Watts wrote in the opening line "a 
name" instead of "the name;" in verse 
two, <, bid" instead of "bade," "and plan- 
ets" instead of "the planets;" in verse five, 
"affrighted" instead of "polluted," and 
"so far" instead of "afar." Verse four of 
the original is: 

A glance of thine runs through the globes, 
Rules the bright world, and moves their 
frame : 

Broad sheets of light compose thy robes, 
Thy guards are formed of living flame. 



81 6 , ^> 6 > 6 > 8 > 8 - 

THE Lord Jehovah reigns, 
His throne is built on high ; 
The garments he assumes 
Are light and majesty : 
His glories shine with beams so bright, 
No mortal eye can bear the sight. 

2 The thunders of his hand 

Keep the wide world in awe ; 
His wrath and justice stand 

To guard his holy law ; 
And where his love resolves to bless, 
His truth confirms and seals the grace. 

3 Through all his mighty works 

Amazing wisdom shines ; 
Confounds the powers of hell, 

And all their dark designs ; 
Strong is his arm, and shall fulfill 
His great decrees and sovereign will. 

4 And will this sovereign King 

Of glory condescend, 
And will he write his name, 

My Father and my Friend? 
I love his name, I love his word ; 
Join all my powers to praise the Lord ! 
Isaac Watts. 

Title: "The Divine Perfections." From 
Hymns and Spiritual Songs, Book II., 
1709. It appears to be founded, in part at 
least, upon Psalm xcvii.: "The Lord reign- 
eth: let the earth rejoice." A few verbal 
changes have been made in the last two 

This is Dr. Watts's favorite theme — the 
greatness and sovereignty of God. It is 
safe to say that on this topic no hymn 
writer, ancient or modern, has equaled 
him in loftiness of thought or grandeur of 

82 L. M. 

LORD of all being, throned afar, 
Thy glory flames from sun and star ; 
Center and soul of every sphere, 
Yet to each loving heart how near ! 

2 Sun of our life, thy quickening ray 
Sheds on our path the glow of day ; 
Star of our hope, thy softened light 
Cheers the long watches of the night. 

3 Our midnight is thy smile withdrawn ; 
Our noontide is thy gracious dawn ; 
Our rainbow arch thy mercy's sign ; 
All, save the clouds of sin, are thine ; 

4 Lord of all life, below, above, 

Whose light is truth, whose warmth is love, 
Before thy ever-blazing throne 
We ask no luster of our own. 

5 Grant us thy truth to make us free, 
And kindling hearts that burn for thee, 
Till all thy living altars claim 

One holy light, one heavenly flame. 

Oliver W. Holmes. 

"A Sun-day Hymn" is the author's title 
for this exceptionally fine and majestic 
Christian lyric. It was written in 1848, 
but was not published until 1859. It 
closes the last chapter of "'The Professor 
at the Breakfast Table" in the Atlantic 
Monthly for December, 1859, being pre- 
ceded immediately by the following 

And so my year's record is finished. 
Thanks to all those friends who from time to 
time have sent their messages of kindly recog- 
nition and fellow-feeling. Peace to all such 
as may have been vexed in spirit by any ut- 
terance the pages have repeated. They will 
doubtless forget for the moment the differ- 
ence in the hues of truth we look at through 
our human prisms, and join in singing (in- 
wardly) this hymn to the Source of the light 
we all need to lead us and the warmth which 
can make us all brothers. 

To write two such hymns as this and 
the one beginning, "O Love divine, that 
stooped to share," is enough to give one 
immortality as a lyric poet and a high 
and permanent place in the history of 
hymnology. The author's Autocrat of the 
Breakfast Table was as much admired as 
the volume from w T hich we have just quo- 
ted. On the occasion of his celebrating 
his eightieth birthday Whittier congratu- 
lated him in a beautiful poem containing 
these lines: 

Long be it ere the table shall be set 

For the last Breakfast of the Autocrat, 
And Love repeat, with smiles and tears 
His own sweet songs, that time shall not for- 
get : 
Waiting with him the call to come up higher, 
Life is not less, the heavens are only higher ! 




L. M. 

LOVE of God, how strong and true, 
Eternal, and yet ever new; 

Uncomprehended and unbought, 
Beyond all knowledge and all thought 

2 O heavenly Love, how precious still. 
In days of weariness and ill, 

In nights of pain and helplessness, 
To heal, to comfort, and to bless ! 

3 O wide-embracing, wondrous Love, 
We read thee in the sky above ; 
We read thee in the earth below. 

In seas that swell and streams that flow. 

4 We read thee best in Him who came 
To bear for us the cross of shame, 
Stnt by the Father from on high, 
Our life to live, our death to die. 

5 O Love of God, our shield and stay 
Through all the perils of our way ; 
Eternal Love, in thee we rest, 
Forever safe, forever blest. 

Horatius Bonai: 

Author's title: ''The Love of God." A 
fine hymn upon a grand theme. It is 
found in Hymns of Faith and Hope, sec- 
ond series, 1864, where it has ten stanzas. 
These are verses one, three, four, six, and 
ten, without verbal change. 

The first part of the hymn calls atten- 
tion to the love of God as seen in his 
works, the last part to the same truth as 
best seen in Christ. One of the omitted 
verses, the second, is not singable, but it 
is well worth quoting for its terse terms 
and forcible expression: 

O love of God, how deep and great ! 
Far deeper than man's deepest hate ; 
Self-fed, self-kindled like the light, 
Changeless, eternal, infinite. 


L. M. 

THE spacious firmament on high, 
With all the blue ethereal sky. 
And spangled heavens, a shining frame, 
Their great Original proclaim. 
The unwearied sun. from day to day, 
Does his Creator's power display, 
And publishes to every land 
The work of an almighty hand. 

2 Soon as the evening shades prevail. 
The moon takes up the wondrous tale, 
And nightly, to the listening earth. 
Repeats the story of her birth : 

While all the stars that round her burn, 
And all the planets in their turn, 
Confirm the tidings as they roll, 
And spread the truth from pole to pole. 

3 What though in solemn silence all 
Move round the dark terrestrial ball? 
What though no real voice nor sound 
Amid the radiant orbs be found? 
In reason's ear they all rejoice, 
And utter forth a glorious voice ; 
P'orever singing as they shine, 
"The hand that made us is divine \- 

Joseph Addison. 
This sublime composition is thought by 
niany to be the best of Addison's hymns. 
It is the language of one who knows how 
to reason "from nature up to nature's 
God," and not only to reason, but to wor- 
ship. It first appeared in 1712, at the end 
of an article in the Spectator on "The 
Right Means to Strengthen Faith." It is 
based on Psalm xix. 1-6: 

The heavens declare the glory of God ; and 

the firmament showeth his handiwork. Day 

unto day uttereth speech, and night unto 

, night showeth knowledge. There is no speech 

: nor language where their voice is not heard. 

I Their line is gone out through all the earth, 

I and their words to the end of the world. In 

j them hath he set a tabernacle for the sun, 

which is as a bridegroom coming out of his 

chamber, and rejoiceth as a strong man to 

run a race. His going forth is from the end 

j of the heaven, and his circuit unto the ends 

of it : and there is nothing hid from the heat 


The author precedes this hymn with the 
following remarks: 

The Supreme Being has made the best ar- 
guments for his own existence in the forma- 
tion of the heavens and the earth, and these 
are arguments which a man of sense cannot 
forbear attending to who is out of the noise 
and hurry of human affairs. . . . The 
Psalmist has very beautiful strokes of poetry 
to this purpose in that exalted strain (Psalm 
xix^. As such a bold and sublime manner of 
thinking furnishes very noble matter for an 
ode, the reader may see it wrought into the 
following one. 

And then comes this hymn. It is said to 
have been a favorite with Dr. Samuel 
Johnson. He used to repeat it with great 



Dr. Telford has an interesting note here: 
Not long before his death John Wesley was 
talking with Adam Clarke about the origin of 
Methodism. He pointed out how "God raised 
up Mr. Addison and his associates to lash the 
prevailing vices and ridiculous and profane 
customs of the country, and to show the ex- 
cellence of Christianity and Christian institu- 
tions. The Spectators, written with all the 
simplicity, elegance, and force of the Eng- 
lish language, were everywhere read, and 
were the first instruments in the hands of 
God to check the mighty and growing profan- 
ity and call men back to religion and decency 
and common sense. Methodism, in the or- 
der of God, succeeded and revived and spread 
Scriptural and experimental Christianity over 
the nation. And now what hath God 
wrought !" That is perhaps the noblest trib- 
ute ever paid to Addison and Steele, who 
were, like Wesley, old Carthusians. 

Addison's poetic version of the twenty- 
third Psalm, beginning, "The Lord my 
pasture shall prepare," is much admired, 
and is found in most collections. 


8s, 7s. D. 

MIGHTY God ! while angels bless thee, 
May a mortal lisp thy name? 
Lord of men, as well as angels, 

Thou art every creature's theme : 
Lord of every land and nation, 

Ancient of eternal days ! 
Sounded through the wide creation 
Be thy just and awful praise. 

2 For the grandeur of thy nature, 

Grand beyond a seraph's thought ; 
For the wonders of creation, 

Works with skill and kindness wrought 
For thy providence, that governs 

Through thine empire's wide domain, 
Wings an angel, guides a sparrow ; 

Blessed be thy gentle reign ! 

3 For thy rich, thy free redemption, 

Bright, though veiled in darkness long, 
Thought is poor, and poor expression ; 

Who can sing that wondrous song? 
Brightness of the Father's glory ! 

Shall thy praise unuttered lie? 
Break, my tongue, such guilty silence, 

Sing the Lord who came to die. 

4 From the highest throne ci glory, 

To the cross of deepest woe ; 
Thou didst come to ransom sinners : 
Flow, my praise, forever flow ! 


Reascend, immortal Saviour ; 

Leave thy footstool, take thy throne ; 
Thence return and reign forever ; 

Be the kingdom all thine own ! 

Robert Robinson. 

This majestic hymn appears in Rippon's 
Selection, 1787, in nine four-lined stanzas, 
each followed by a refrain, "Hallelujah, 
Hallelujah, Hallelujah, Amen," which has 
been omitted above, as also the seventh 
stanza, which is as follows: 

Did archangels sing thy coming? 

Did the shepherds learn their lays? 
Shame would cover me ungrateful, 

Should my tongue refuse to praise. 

86 c. m. 

MY God, how wonderful thou art ! 
Thy majesty how bright ! 
How beautiful thy mercy seat 
In depths of burning light ! 

2 How dread are thine eternal years, 

O everlasting Lord, 
By prostrate spirits day and night 
Incessantly adored ! 

3 How beautiful, how beautiful, 

The sight of thee must be, 
Thine endless wisdom, boundless power, 
And awful purity ! 

4 O how I fear thee, living God, 

With deepest, tenderest fears, 
And worship thee with trembling hope, 
And penitential tears. 

5 Yet I may love thee too, O Lord, 

Almighty as thou art ; 
For thou hast stooped to ask of me 
The love of my poor heart. 

6 No earthly father loves like thee, 

No mother, half so mild, 
Bears and forbears as thou hast done 
With me, thy sinful child. 

7 Father of Jesus, love's reward ! 

What rapture will it be, 
Prostrate before thy throne to lie, 
And gaze, and gaze on thee ! 

Frederick W. Faber. 

"The Eternal Father'' is the title which 
this hymn bears in the author's Jesus and 
Mary; or. Catholic Hymns for Singing and 
Reading, 1849. In his Hymns, 1861, the 
title is changed to "Our Heavenly Father.'' 
Two stanzas are omitted: 



6 Oh then this worse than worthless heart 
In pity deign to take, 
And make it love Thee, for Thyself 
And for Thy glory's sake. 

8 Only to sit and think of God, 

Oh what a joy it is ! 
To think the thought, to breathe the Name, 

Earth has no higher bliss ! 
When Faber became a Roman Catholic, 
in 1846, he realized the need, he tells us, 
of intensely ardent and spiritual hymns 
which would be to Catholics what the 
hymns of Cowper, Newton, and Wesley 
were to evangelical Protestants. He there- 
fore, making the hymns of these authors 
something of a guide and model, under- 
took to meet the need. His hymns abound 
in Mariolatry and other un-Protestant and, 
as we think, unchristian elements — well- 
nigh all of them have to be altered to 
adapt them to Protestant worship — but 
after they have had these objectionable 
elements eliminated, they make hymns 
which are not only acceptable to all Chris- 
tians, but which are more than ordinarily 
admired and loved by many of the most de- 
vout and spiritual of evangelical believers. 

8? C. M. 

0GOD, thy power is wonderful, 
Thy glory passing bright ; 
Thy wisdom, with its deep on deep, 
A rapture to the sight. 

2 I see thee in the eternal years 

In glory all alone, 
Ere round thine uncreated fires 
Created light had shone. 

3 I see thee walk in Eden's shade, 

I see thee all through time ; 
Thy patience and compassion seem 
New attributes sublime. 

4 I see thee when the doom is o'er, 

And outworn time is done, 
Still, still incomprehensible, 
O God, yet not alone. 

5 Angelic spirits, countless souls, 

Of thee have drunk their fill ; 
And to eternity will drink 
Thy joy and glory still. 

6 O little heart of mine ! shall pain 

Or sorrow make thee moan, 
"When all this God is all for thee, 
A Father all thine own? 

Frederick W. Faber. 

Title, "My Father;' from Faber's 
Hymns, 1861, where it contains thirteen 
stanzas. These are one, five, six, seven, 
eight, and thirteen, unaltered. 

This is the author's favorite theme — 
God. He had a heart on fire with love 
and a genius for adequate and poetic ex- 

88 8s, 7s. 

GOD is love ; his mercy brightens 
All the path in which we rove ; 
Bliss he wakes and woe he lightens ; 
God is wisdom, God is love. 

2 Chance and* change are busy ever; 

Man decays, and ages move ; 
But his mercy waneth never; 
God is wisdom, God is love. 

3 E'en the hour that darkest seemeth, 

Will his changeless goodness prove ; 
From the gloom his brightness streameth, 
God is wisdom, God is love. 

4 He with earthly cares entwineth 

Hope and comfort from above ; 

Everywhere his glory shineth ; 
God is wisdom, God is love. 

John Bowring. 

From the author's Hymns, London, 1825, 
where it bears the title "God Is Love" 
and repeats the first stanza in closing. In 
the third line of the third stanza the au- 
thor wrote "mist" instead of "gloom." 
Few hymns sing of God's wisdom and love 
so beautifully as this. We wonder how a 
Unitarian could sing so nobly of the wis- 
dom and love of God, and yet fail to see 
that it took a divine-human Christ ade- 
quately to reveal this wisdom and love of 
the Heavenly Father. 


C. M. 

BEGIN, my tongue, some heavenly theme, 
And speak some boundless thing, 
The mighty works or mightier name 
Of our eternal King. 

2 Tell of his wondrous faithfulness, 

And sound his power abroad ; 
Sing the sweet promise of his grace 
And the performing God. 

3 His every word of grace is strong, 

As that which built the skies ; 
The voice that rolls the stars along, 
Speaks all the promises. 



4 O might I hear thy heavenly tongue 
But whisper, "Thou art mine !" 
Those gentle words should raise my song 
To notes almost divine. 

Isaac Watts. 

Title: "The Faithfulness of God." It is 
from Hymns and Spiritual Songs, 1707. 
Nine stanzas. These are one, two, six, 
and eight. This hymn is not equal to the 
best of Watts's, yet it has some of the 
same characteristics. It is full of power 
and beauty. One word has been changed. 
Watts wrote, verse three, line one: "His 
very word of grace is strong." 

90 L - M. 

THE Lord is King ! lift up thy voice, 
O earth, and all ye heavens, rejoice : 
From world to world the joy shall ring, 
"The Lord omnipotent is King !" 

2 The Lord is King ! child of the dust, 
The Judge of all the earth is just ; 
Holy and true are all his ways : 
Let every creature speak his praise. 

3 He reigns ! ye saints, exalt your strains ; 
Your God is King, your Father reigns ; 
And he is at the Father's side, 

The Man of Love, the Crucified. 

4 Come, make your wants, your burdens 

known ; 
He will present them at the throne ; 
And angel bands are waiting there 
His message of love to bear. 

5 O when hij wisdom can mistake, 
His might decay, his love forsake, 
Then may his children cease to sing, 
"The Lord omnipotent is King !" 

Josiah Conder. 

From the author's The Star in the 
East; with Other Poems, London, 1824. 
It is based on Revelation xix. 6: "Alle- 
luia: for the Lord God omnipotent reign- 
eth." The second, seventh, and eighth 
stanzas, omitted above, are: 

2 The Lord is King ! who then shall dare 
Resist His will, distrust His care, 
Or murmur at His wise decrees, 
Or doubt His royal promises? 

7 Alike pervaded by His eye, 
All parts of His dominion lie : 
This world of ours, and worlds unseen ; 
And thin the boundary between. 

8 One Lord, one empire, all secures ; 

He reigns, and life and death are yours : 
Through earth and heaven one song shall 

The Lord Omnipotent is King. 


!, 7, 8, 7, 4, 7. 

GUIDE me, O thou great Jehovah, 
Pilgrim through this barren land : 
I am weak, but thou art mighty ; 
Hold me with thy powerful hand : 

Bread of heaven, 
Feed me till I want no more. 

2 Open now the crystal fountain, 

Whence the healing waters flow ; 
Let the fiery, cloudy pillar 

Lead me all my journey through : 

Strong Deliverer, 
Be thou still my strength and shield. 

3 When I tread the verge of Jordan, 

Bid my anxious fears subside ; 
Bear me Through the swelling current : 
Land me safe on Canaan's side : 

Songs of praises 
I will ever give to thee. 

William Williams. 

The title of this hymn in George White- 
field's Collection, 1774, is: "Christ a Sure 
Guide" One line, the third in verse three, 
has been changed. In the original it is: 
"Death of Deaths, and Hell's Destruction." 

Few persons are aware that there ever 
was a fourth stanza; the hymn is perfect 
without it: 

4 Musing on my Habitation, 

Musing on my heav'nly Home, 
Fills my Soul with Holy Longing, 
Come, my Jesus, quickly come : 

Vanity is all I see, 
Lord I long to be with Thee ! 

Williams composed the hymn in the 
Welsh language. Rev. James King in 
Anglican Hymnology says: "In 1771 it 
was translated into English by the Rev. 
Peter Williams." It is a genuine heart 
song, and has been sung by unnumbered 
saints who now sing the "new song" 

In this hymn the analogies to the his- 
tory of Israel in the wilderness are very 
wonderful. They appear in each stanza 
and in almost every line. 



92 10, io, n. n. 

THOUGH troubles assail, and dangers af- 
Though friends should all fail, and foes all 

Yet one thing secures us, whatever betide, 
The promise assures us, "The Lord will pro- 

2 The birds, without barn or storehouse, are 


From them let us learn to trust for our 
bread : 

His saints what is fitting shall ne'er be de- 

So long as 'tis written, "The Lord will pro- 

3 No strength of our own, nor goodness we 

claim ; 
Our trust is all thrown on Jesus's name : 
In this our strong tower for safety we hide ; 
The Lord is our power, "The Lord will pro- 

4 When life sinks apace, and death is in view, 
The word of his grace shall comfort us 

through : 
Not fearing or doubting with Christ on our 

We hope to die shouting, "The Lord will 

provide." John Newton. 

Written in February, 1775, and pub- 
lished in the Gospel Magazine for Janu- 
ary, 1777. Found also in the Olney 
Hymns, 1779. Genesis xxii. 14 furnishes 
the. title and the refrain for this hymn — 
"The Lord Will Provide:' In the fourth 
line of the first stanza the author wrote 
"Scripture" instead of "promise;" and in- 
stead of the second line of the third stan- 
za as given above he wrote: "Yet since we 
have known the Saviour's great name." 
Four stanzas have been omitted: 

We all may, like ships, By tempest be tossed 
On perilous deeps, But can not be lost ; 
Though Satan enrages The wind and the tide, 
Yet Scripture engages, The Lord will provide. 

His call we obey, Like Abrah'm of old : 

We know not the way, But faith makes us bold ; 

For though we are strangers, We have a sure 

And trust in all dangers, The Lord will pro- 

When Satan appears to stop up our path, 
And fills US with fears, we triumph by faith ; 

He cannot take from us, though oft he has 

The heart-cheering promise, "The Lord will 


He tells us we'.e weak, our hope is in vain; 
The good that we seek we n'er shall obtain : 
But when such suggestions our spirits have 

This answers all questions, "The Lord will 


This hymn was a great favorite with 
Methodists a generation ago, but it is now 
rarely sung. 


l, 7, 8, 7, 8, 

TO God on high be thanks and praise 
For mercy ceasing never, 
Whereby no foe a hand can raise, 

Nor harm can reach us ever. 
With joy to him our hearts ascend, 
The source of peace that knows no end, 
A peace that none can sever. 

2 The honors paid thy holy name 
To hear thou ever deignest ! 
Thou God the Father, still the same 

Unshaken ever reignest. 
Unmeasured stands thy glorious might ; 
Thy thoughts, thy deeds, outstrip the light, 
Our heaven thou, Lord, remainest. 

Nicolaus Decius. 
Tr. by Robert C. Singleton. 

"Gloria in Excelsis." It is based upon 
the song of the angels (Luke ii. 14): 
"Glory to God in the highest, and on earth 
peace, good will toward men." It was aft- 
erwards expanded into an elaborate chant 
of praise. It is found in the Greek as 
early as the fifth century, and in the Lat- 
in in the eighth. 

The translation of Nicolaus Decius into 
German consists of four seven-lined stan- 
zas. Several translations have been made 
from German into English. One by Miss 
Winkworth begins: 

All glory be to God on high 
Who hath our race befriended. 
In the earlier editions of the Hymnal 
this translation was attributed to Miss 
Winkworth in error. It is a part of a 
translation made by Robert C. Singleton, 
and was first published in the Anglican 
Hymn Book. 1868. 





S. M. 

Y soul, repeat His praise, 
Whose mercies are so great ; 

Whose anger is so slow to rise, 
So ready to abate. 

2 High as the heavens are raised 

Above the ground we tread, 
So far the riches of his grace 
Our highest thoughts exceed. 

3 His power subdues our sins ; 

And his forgiving love, 
Far as the east is from the west, 
Doth all our guilt remove. " 

4 The pity of the Lord, 

To those that fear his name, 

Is such as tender parents feel ; 

He knows our feeble frame. 

5 Our days are as the grass, 

Or like the morning flower : 
If one sharp blast sweep o'er the field 
It withers in an hour. 

6 But thy compassions, Lord, 

To endless years endure ; 
And children's children ever find 
Thy words of promise sure. 

Isaac Watts 

This hymn on the "Abounding Compas- 
sion of God; or, Mercy in the Midst of 
Judgment,"' is based on Psalm ciii. 8-18: 

The Lord is merciful and gracious, slow to 
anger, and plenteous in mercy. He will not 
always chide : neither will he keep his anger 
forever. He hath not dealt with us after our 
sins ; nor rewarded us according to our in- 
iquities. For as the heaven is high above the 
earth, so great is his mercy toward them that 
fear him. As far as the east is from the 
west, so far hath he removed our transgres- 
sion from us. 

From the author's Psalms of David, 

Two stanzas, the second and sixth, are 

2 God will not always chide. 

And when his strokes are felt, 
His strokes are fewer than our crimes 
And lighter than our guilt. 

6 He knows we are but dust 
Scattered by every breath ; 
His anger, like a rising wind, 
Can send us swift to death. 


L. M. 

WHEN Israel, of the Lord beloved, 
Out from the land of bondage came, 
Her fathers' God before her moved, 
An awful guide, in smoke and flame. 

2 By day, along the astonished lands 

The cloudy pillar glided slow ; 
By night Arabia's crimsoned sands 
Returned the fiery column's glow. 

3 Thus present still, though now unseen, 

When brightly shines the prosperous day, 
Be thoughts of thee a cloudy screen, 
To temper the deceitful ray. 

4 And O, when gathers on our path, 

In shade and storm, the frequent night, 
Be thou, long-suffering, slow to wrath, 
A burning and a shining light. 

Walter Scott. 

This is a part of the hymn with which 
the imprisoned Rebecca concludes her 
evening devotions. From the author's ro- 
mance, Ivanhoe, 1820. The original con- 
sists of four eight-lined stanzas. This 
hymn is composed of the first and third. 
Two lines have been slightly changed. In 
verse four, line one, the author wrote: 
"But present still, though now unseen;" 
and in verse four, line one: "And oh, when 
stoops on Judah's path." 

The Scripture reference in the first 
part of the hymn is to Exodus xiii. 21: 
"And the Lord went before them by day 
in a pillar of a cloud, to lead them the 
way; and by night in a pillar of fire, to 
give them light; to go by day and night." 

96 C. M. 

GOD moves in a mysterious way 
His wonders to perform ; 
He plants his footsteps in the sea, 
And rides upon the storm. 

2 Deep in unfathomable mines 

Of never-failing skill, 
He treasures up his bright designs, 
And works his sovereign will. 

3 Ye fearful saints, fresh courage take ; 

The clouds ye so much dread 
Are big with mercy, and shall break 
In blessings on your head. 

4 Judge not the Lord by feeble sense, 

But trust him for his grace : 
Behind a frowning providence 
He hides a smiling face. 



5 I Fis purposes will ripen fast, 

Unfolding every hour : 
The bud may have a bitter taste, 
But sweet will be the flower. 

6 Blind unbelief is sure to err, 

And scan his work in vain : 
God is his own interpreter, 
And he will make it plain. 

William Cowper. 

This hymn was first published in John 
Newton's Twenty Six Letters on Religious 
Subjects; to ichich are added Hymns, &c, 
by Omicron, London, 1774. ''Light Shin- 
ing Out of Darkness'' is the title which it 
bears. It was also published the same 
year in the Gospel Magazine for July, 
1774. It is found in the Olney Collection, 
1779, which is composed entirely of the 
hymns of Newton and Cowper. 

In the earliest form of this hymn, found 
in a recently discovered Cowper manu- 
script, the last line of verse five reads: 
"But wait to smell the flower." 

Cowper's hymns are best understood 
when studied in the light of his peculiar 
life experiences. He suffered with occa- 
sional attacks of insanity which kept him 
in a state of mental and moral despond- 
ency and sometimes necessitated his be- 
ing confined in an asylum. He was a deep- 
ly religious soul. He lived for several 
years at Olney, during which time he was 
a constant attendant upon the services of 
the Church of which John Newton was 
pastor and for which, at Newton's request, 
most of his hymns were written. 

Writing of his friend and coworker, 
Newton tells us, "it was impressed upon 
his disturbed imagination that it was the 
will of God that he should, after the ex- 
ample of Abraham, perform an expensive 
act of obedience and offer not a son, but 
himself." He attempted suicide several 
times, the most notable instance being in 
October, 1773. There has long existed a 
widely accepted tradition that this hymn 
was written at this juncture in his life. 
In July-September, 1905, an English peri- 
odical titled Xotes and Queries printed 

some hitherto unpublished letters from 
Cowper and Newton contained in a re- 
cently discovered manuscript of great val- 
ue to hymnologists because of the light it 
throws upon the date of this and three 
other hymns by Cowper. The dates given 
in this manuscript seem to furnish con- 
clusive evidence that this hymn was writ- 
ten not later than August, 1773. We must 
give up, therefore, the popular and fre- 
quently published tradition which states 
that it was written in October, 1773, im- 
mediately after an attempt to drown him- 
self in the river Ouse had been frustrated. 
However, the fact that the hymn was writ- 
ten in the twilight of departing reason 
still renders it, as James Montgomery has 
said, "awfully interesting." Greatheed, in 
his Memoirs of the poet, says that Cowper 
"conceived some presentiment of the at- 
tack of 1773 as it drew near, and during 
a solitary walk in the fields composed that 
hymn of the Olney collection beginning, 
'God moves in a mysterious way.' " 

About this time Cowper wrote of him- 
self: "I have never met, either in books or 
in conversation, with an experience at all 
similar to mine. More than a twelve- 
month has passed since I began to hope 
that, having walked the whole breadth of 
the bottom of the Red Sea, I was begin- 
ning to climb the opposite shore, and I 
proposed to sing the Song of Moses. But I 
have been disappointed." Yet he can still 
add, speaking to the Saviour: "I love thee, 
even now, more than many who see thee 
daily." "It was such agonies as these," 
observes Duffield, "which have given Cow- 
per's hymns their marvelous hold upon the 

James T. Fields has said that to be the 
author of such a hymn as this is an 
achievement that angels themselves might 
envy. The objections of some critics to 
the rhyme and the figure contained in the 
fifth stanza are hypercritical. The rhyme 
is allowable, and the figure of the bitter- 
tasting bud and the sweet-smelling flower 



is not only true to nature, but admirably 
adapted to expressing, in fine poetic senti- 
ment, the thought in the mind of the poet: 
"What I do thou knowest not now, but 
thou shalt know hereafter." A great ar- 
tist said he never permitted "bairns and 
fools" to look at his paintings until fin- 
ished. Only artists or wise men might see 
them when only half finished. The wisest 
and best alone are capable of pronoun- 
cing judgment upon God's unfinished prov- 

Many a soul plunged into doubt and 
gloom by trying and inexplicable experi- 
ences has been brought back to faith and 
light and love again by singing this hymn. 
It is a profound, tender, and beautiful 
song of trust, and is perhaps the most pop- 
ular and useful hymn ever writtten on the 
deep mysteries of providence. 


L. M. 

GOD is our refuge and defense ; 
In trouble our unfailing aid : 
Secure in his omnipotence, 

What foe can make our souls afraid? 

2 Yea, though the earth's foundations rock, 

And mountains down the gulf be hurled, 
His people smile amid the shock : 

They look beyond this transient world. 

3 There is a river pure and bright, 

Whose streams make glad the heavenly 
plains ; 
Where, in eternity of light, 
The city of our God remains. 

4 Built by the word of his command, 

With his unclouded presence blest, 
Firm as his throne the bulwarks stand ; 
There is our home, our hope, our rest. 
James Montgomery. 

The first four verses of an excellent par- 
aphrase of Psalm xlvi. in Songs of Zio?i, 
1822. It is interesting to compare the 
metrical version with the authorized text: 

God is our refuge and strength, a very 
present help in trouble. Therefore will not 
we fear, though the earth be removed, and 
though the mountains be carried into the 
midst of the sea ; though the waters thereof 
roar and be troubled, though the mountains 
shake with the swelling thereof. Selah. 
There is a river, the streams whereof shall 

make glad the city of God, the holy place of 
the tabernacles of the Most High. God is in 
the midst of her; she shall not be moved: 
God shall help her, and that right early. 

Songs of Zion was Montgomery's first 
book of hymns. In the preface he wrote: 
"If it shall be found that he had added a 
little to the small national stock of psalms 
and hymns and spiritual songs in which 
piety speaks the language of poetry and 
poetry the language of inspiration, he 
trusts that he will be humbly contented 
and unfeignedly thankful." 

His modest ambition has been abundant- 
ly rewarded. The name of James Mont- 
gomery, the Christian poet and hymnist, 
will long be known and cherished. 


5, 7s. 

THERE'S a wideness in God's mercy, 
Like the wideness of the sea ; 
There's a kindness in his justice, 
Which is more than liberty. 

2 There is welcome for the sinner, 

And more graces for the good ; 
There is mercy with the Saviour ; 
There is healing in his blood. 

3 For the love of God is broader 

Than the measure of man's mind ; 
And the heart of the Eternal 
Is most wonderfully kind. 

4 If our love were but more simple, 

We should take him at his word ; 
And our lives would be all sunshine 
In the sweetness of our Lord. 

Frederick W. Faber. 

"Come to Jesus" is the title which this 
immensely popular lyric bears in the au- 
thor's Hymns, 18G2. The original has 
thirteen stanzas; we have here the fourth, 
sixth, eighth, and thirteenth. It is the 
most popular and frequently sung of all 
Faber's hymns. Its phraseology happily 
fits and voices forth the theology of the 
modern Christian worshiper. To compare 
God's great love to "the wideness of the 
sea" is not only a fine poetical metaphor, 
but the expression of a truth that needs to 
be emphasized in songs as well as sermons 
in our day. 



Few modern hymn-writers have sung so 
musically and passionately of the length 
and breadth and height and depth of 
God's love as Faber. Compare verse four 
above with the stanza beginning, "No 
earthly father loves like thee" (No. 86), 
and other similar sentiments found in his 
hymns, and one is forcibly reminded of 
the ardent love hymns which Bernard of 
Clairvaux addressed to Christ. (See Nos. 
289 and 533.) These sentiments also find 
a parallel in the following remarkable 
lines, written in 1779 by a partially in- 
sane man living at Cirencester, England: 

Could we with ink the ocean fill, 

Were the whole earth of parchment made, 
Were every single stick a quill, 

Were every man a scribe by trade ; 
To write the love of God alone, 

Would drain the ocean dry, 
Nor would the scroll contain the whole, 

Though stretched from sky to sky. 


C. M. 

THE Lord our God is clothed with might, 
The winds obey his will ; 
He speaks, and in his heavenly height 
The rolling sun stands still. 

2 Rebel, ye waves, and o'er the land 

With threatening aspect roar ; 

The Lord uplifts his awful hand, 

And chains you to the shore. 

3 Ye winds of night, your force combine ; 

Without his high behest, 
Te shall not, in the mountain pine, 
Disturb the sparrow's nest. 

4 His voice sublime is heard afar ; 

In distant peals it dies ; 
He yokes the whirlwind to his car, 
And sweeps the howling skies. 

5 Ye nations, bend, in reverence bend ; 

Ye monarchs, wait his nod ; 
And bid the choral song ascend 
To celebrate our God. 

H. Kirke White. 

Title: "The Eternal Monarch." 
This is a genuine poem. It was first 
published by the Rev. William Bengo Coll- 
yer, D.D., in Hymns Partly Collected and 
Partly Original, London, 1812. Slight 
changes have been made in two lines. 


Verse one, line one: 

The Lord our God is full of might. 
Verse three, line one: 
Howl, winds of night, your force combine. 


S. M. 


OW gentle God's commands ! 
How kind his precepts are ! 
Come, cast your burdens on the Lord, 
And trust his constant care. 

2 Beneath his watchful eye 

His saints securely dwell ; 
That hand which bears all nature up 
Shall guard his children well. 

3 Why should this anxious load 

Press down your weary mind? 
Haste to your Heavenly Father's throne, 
And sweet refreshment find. 

4 His goodness stands approved, 

Unchanged from day to day : 
I'll drop my burden at his feet, 
And bear a song away. 

Philip Doddridge. 

"God's Care a Remedy for Ours" is the 
title of this hymn in the author's Hymns 
Founded on Various Texts in the Holy 
Scriptures, London, 1755. It is based on 
1 Peter v. 7: "Casting all your care upon 
him, for he careth for you." In the first 
and second lines of the second stanza the 
author wrote: 

While Providence sui)ports 
Let saints securely dwell. 

In the second line of the fourth verse he 
wrote: "Down to the present day." 

The beginning of this hymn is exceed- 
ingly happy, while the last two lines make 
a poetic gem of rare value and beauty both 
in language and in thought. 


P. M. 

MIGHTY fortress is our God, 
L. A bulwark never failing: 
Our helper he, amid the flood 

Of mortal ills prevailing. 
For still our ancient foe 
Doth seek to work us woe ; 
His craft and power are great, 
And, armed with cruel hate, 
On earth is not his equal. 



2 Did we in our own strength confide, 

Our striving would be losing ; 
Were not the right Man on our side, 

The Man of God's own choosing. 
Dost ask who that may be? 
Christ Jesus, it is he ; 
Lord Sabaoth is his name, 
From age to age the same, 

And he must win the battle. 

3 And though this world, with devils filled, 

Should threaten to undo us ; 
We will not fear, for God hath willed 

His truth to triumph through us. 
The prince of darkness grim — 
We tremble not for him ; 
His rage we can endure, 
For lo ! his doom is sure, 

One little word shall fell him. 

4 That word above all earthly powers — 

No thanks to them — abideth ; 
The Spirit and the gifts are ours 

Through Him who with us sideth. 
Let goods and kindred go, 
This mortal life also : 
The body they may kill : 
God's truth abideth still, 

His kingdom is forever. 
Martin Luther. Tr. by Frederick H. Hedge. 

Heinrich Heine, a celebrated German 
lyric poet and critic, called this hymn the 
"Marseillaise of the Reformation." He 

A battle hymn was this defiant song, with 
which he and his comrades entered Worms 
(April 16, 1521). The old cathedral trem- 
bled at these new notes, and the ravens were 
startled in their hidden nests in the towers. 
This hymn, the Marseillaise of the Reforma- 
tion, has preserved its potent spell even to 
our days, and we may yet use again the old 
mailed words. 

From the German, "Em" feste Burg ist 
unser Gott." 

It first appears in print, so far as we 
know, in a German hymn book published 
at Wittenberg in 1529, under the title, 
"Der XXXXVI Psalm. Deus noster refu- 
gium et virtus." 

This rugged hymn, set to equally rug- 
ged music, spread over all the land and 
became the national hymn of Protestant 
Germany. It was used daily by Luther 
and his associates. Gustavus Adolphus 

caused it to be sung by his whole army 
before the battle of Leipzig, September 
17, 1631. It is the battle hymn of Prot- 
estantism, and should be used by us more 
frequently. It has been translated by 
many writers with varying degrees of suc- 

Coleridge said that Luther "did as much 
for the Reformation by his hymns as he 
did by his translation of the Bible." The 
reference which D'Aubigne* makes to this 
hymn in his History of the Reformation 
is well worth quoting: 

Luther, full of faith, revived the courage 
of his friends by composing and singing with 
his fine voice that beautiful hymn, since be- 
come so famous, ''Ein' feste Burg ist unser 
Gott." Never did soul that knew its own 
weakness, but which, looking to God, de- 
spised every fear, find such noble accents. 
This hymn was sung during the Diet not only 
at Augsburg, but in all the churches of Sax- 
ony, and its energetic strains often revived 
and inspirited the most dejected hearts. 

Dr. Julian names sixty-three transla- 
tions of this hymn into English, desig- 
nating the following by Thomas Carlyle 
as "the most faithful and forcible of all 
the English versions:" 

1 A safe stronghold our God is still, 

A trusty shield and weapon ; 
He'll help us clear from all the ill 

That hath us now o'ertaken. 
The ancient prince of hell 
Hath risen with purpose fell ; 
Strong mail of craft and power 
He weareth in this hour ; 

On earth is not his fellow. 

2 With force of arms we nothing can, 

Full soon were we downridden ; 
But for us fights the proper Man, 

Whom God Himself hath bidden. 
Ask ye, Who is this same? 
Christ Jesus is His name, 
The Lord Sabaoth's Son ; 
He, and no other one, 

Shall conquer in the battle. 

3 And were this world all devils o'er, 

And watching to devour us, 
We lay it not to heart so sore ; 

Not they can overpower us. 
And let the prince of ill 
Look grim as e'er he will, 



He harms us not a whit : 
For why? His doom is writ; 
A word shall quickly slay him. 

God's word, for all their craft and force, 
One moment will not linger, 

But, spite of hell, shall have its course ; 
"Pis written by His finger. 

And though they take our life, 

Goods, honour, children, wife, 

Yet is their profit small : 

These things shall vanish all ; 
The city of God remaineth. 


C. M. 


OW are thy servants blest. O Lord ! 

How sure is their defense ! 
Eternal "Wisdom is their guide, 
Their help, Omnipotence. 

2 In foreign realms, and lands remote, 

Supported by thy care, 
Through burning climes they pass unhurt, 
And breathe in tainted air. 

3 When by the dreadful tempest borne 

High on the broken wave, 
They know thou art not slow to hear, 
Nor impotent to save. 

4 The storm is laid, the winds retire, 

Obedient to thy will ; 
The sea, that roars at thy command, 
At thy command is still. 

5 In midst of dangers, fears, and deaths, 

Thy goodness we adore ; 
We praise thee for thy mercies past, 
And humbly hope for more. 

6 Our life, while thou preservest life, 

A sacrifice shall be ; 

And death, when death shall be our lot, 
Shall join our souls to thee. 

Joseph Addison. 

This hymn first appeared in the Spec- 
tator for September 20, 1712, in connec- 
tion with an article on "Greatness," with 
special reference to the greatness and im- 
pressiveness of the ocean. It is accom- 
panied by the statement that it w r as "made 
by a gentleman upon the conclusion of his 
travels," and hence it is commonly called 
"The Traveler's Hymn." In the author's 
travels in the year 1700 he encountered 
dangers by land and by sea, as well as 
Roman pestilence and Alpine glacier. He 
was caught in a violent storm off the coast 
of Italy in December, 1700, and all was 

given up for lost. While the captain of 
the vessel in despair of life was confess- 
ing his sins to a Capuchin friar on board, 
the English traveler was undergoing an 
experience that was to find pious expres- 
sion in this magnificent hymn of trust 
and thanksgiving for preservation. It 
takes a deep and trying experience to 
break up the fountains of the human 
heart and prepare one to produce a hymn 
so full of the spirit of true devotion. The 
sweetest and noblest hymns, as indeed 
most of that which is best in all poesy, 
have been wrung out of the human heart 
by severe trials of some kind. There 
would be very little of real value in hym- 
nology if none of God's children were 
called upon to pass through the deep wa- 
ters and "under the rod." This hymn orig- 
inally had ten stanzas. The omitted stan- 
zas are the third, fourth, fifth, and sixth 
of the original, and are as follows: 

3 Thy mercy sweetened every soil, 

Made every region please : 
The hoary Alpine hills it warmed, 
And smoothed the Tyrrhene seas. 

4 Think, O my soul, devoutly think, 

How with affrighted eyes 
Thou sawest the wide-extended deep 
In all its horrors rise ! 

5 Confusion dwelt in every face, 

And fear in every heart; 
When waves on waves, and gulfs on gulfs, 
O'ercame the pilot's art. 

6 Yet then from all my griefs, O Lord, 

Thy mercy set me free, 
While in the confidence of prayer 
My soul took hold on thee. 

Addison's devout meditation on death, 
beginning, "When rising from the bed of 
death," is worthy to be studied along with 
this hymn, and also the hymn beginning, 
"When all thy mercies, O my God" (No. 



LORD, whom winds and seas obey, 
Guide us through the watery way : 
In the hollow of thy hand 
Hide, and bring us safe to land. 



2 Jesus, let our faithful mind 
Rest, on thee alone reclined : 
Every anxious thought repress ; 
Keep our souls in perfect peace. 

3 Keep the souls whom now we leave ; 
Bid them to each other cleave ; 

Bid them walk on life's rough sea; 
Bid them come hy faith to thee. 

4 Save, till all these tempests end, 
All who on thy love depend ; 
"Waft our happy spirits o'er; 
Land us on the heavenly shore. 

Charles Wesley. 

Title: "At Going on Shipboard." It is 
unaltered and entire as found in the writ- 
er's manuscripts at the Theological Li- 
brary at Richmond, England. The hymn 
emphasizes the important thought of the 
keeping power cf God. 

104 Us 

THE Lord is my Shepherd, no want shall I 
know ; 
I feed in green pastures, safe-folded I 
He leadeth my soul where the still waters 
Restores me when wandering, redeems 
when oppressed. 

2 Through the valley and shadow of death 

though I stray, 
Since thou art my guardian, no evil I 

fear ; 
Thy rod shall defend me, thy staff be my 

stay ; 
Xo harm can befall, with my Comforter 


3 In the midst of affliction my table is 

spread ; 

Wifti blessings unmeasured my cup run- 
neth o'er ; 
With perfume and oil thou anointest my 
head ; 

O what shall I ask of thy providence 

4 Let goodness and mercy, my bountiful God, 

Still follow my steps till I meet thee 
above ; 
I seek — by the path which my forefathers 
Through the land of their sojourn — thy 
kiagdom of love. 

James Montgomery. 

This much-adniired metrical version of 

the twenty-third Psalm is found in the au- 
thor's Songs of Zion, being Imitations of 
Psalms, 1822. 


C. M. 

WHEN all thy mercies, O my God, 
My rising soul surveys, 
Transported with the view, I'm lost 
In wonder, love, and praise. 

2 O how can words with equal warmth 

The gratitude declare, 
That glows within my ravished heart? 
But thou canst read it there. 

3 Ten thousand thousand precious gifts 

My daily thanks employ ; 
Nor is the least a cheerful heart 
That tastes those gifts with joy. 

4 When in the slippery paths of youth, 

With heedless steps I ran, 
Thine arm, unseen, conveyed me safe, 
And led me up to man. 

5 Through hidden dangers, toils, and deaths, 

It gently cleared my way ; 
And through the pleasing snares of vice, 
More to be feared than they. 

6 Through every period of my life 

Thy goodness I'll pursue ; 
And after death, in distant worlds, 
The glorious theme renew. 

7 Through all eternity to thee 

A grateful song I'll raise ; 
For O, eternity's too short 
To utter all thy praise. 

Joseph AdAison. 

This favorite hymn contains, in all, 
thirteen stanzas. The whole poem is 
found in the Spectator, No. 453, in which 
it was first published in 1712. It appears 
in connection with an article containing 
the following sentiment, which makes a 
fitting preface to this truly great hymn on 

If gratitude is due from man to man, how 
much more from man to his Maker? The 
Supreme Being does not only confer upon us 
those bounties which proceed more imme- 
diately from his hand, but even those bene- 
fits which are conveyed to us. by others. Any 
blessing we enjoy, by what means soever de- 
rived, is the gift of Him who is the great 
Author of good and the Father of mercies. 

As the verses left out are equally as 
good as those retained, we quote them in 
full. Indeed, to appreciate the hymn for 



its real worth, it should be read without 
abbreviation or alteration from the orig- 

3 Thy providence my life sustained, 

And all my wants redressed. 
While in the silent womb I lay, 
And hung upon the breast. 

4 To all my weak complaints and cries 

Thy mercy lent an ear, 
Ere yet my feeble thoughts had learned 
To form themselves in prayer. 

5 Unnumbered comforts on my soul 

Thy tender care bestowed. 
Before my infant heart conceived 
From whom those comforts flowed. 
S When worn with sickness, oft hast thou 
With health renewed my face; 
And, when in sins and sorrows sunk, 
Revived my soul with gi-ace. 
9 Thy bounteous hand with worldly bliss 
Hast made my cup run o'er ; 
And in a kind and faithful friend 
Hast doubled all my store. 
12 When nature fails, and day and night 
Divide thy works no more. 
My ever grateful heart. O Lord, 
Thy mercies shall adore. 

Some doubt has recently been expressed 
by hymnologists whether Addison were 
the author of this hymn. It will be seen 
that he does not expressly claim it. To do 
so was contrary to his habit. The claims 
of others have not been substantiated. 
All of this author's hymns were published 
in connection with his prose writings. He 
was practically the inventor of the Eng- 
lish essay. 

Christian biography furnishes many in- 
stances of the influence of this hymn upon 
religious experience and life. One of the 
most striking is the following: 

Josiah Quincy. formerly President of Har- 
vard College, lived to be ninety-two years of 
age. He had kept a journal for many years. 
He was accustomed to sit in the morning in 
a large chair with a broad arm to it. which 
1 as a desk upon which he wrote his 
diary. July 1, 1S64. he sat down in his chair 
as usual. His daughter brought his jour- 
nal. He at first declined to undertake his 
wonted task, but his daughter urged him 
not to abandon it. He took the book and 
wrote the first verse of that grateful hymn 
of Addison : 

"When all thy mercies, O my God, 
My rising soul sur . 
Transported by the view, I'm lost 
In wonder, love, and praise." 

The weary head dropped upon the bosom. 
The volume was ended. The aged pilgrim's 
I course was finished. 


10, 10, 11, 11. 

WORSHIP the King, all-glorious above, 
O gratefully sing his power and his love ; 

Our Shield and Defender, the Ancient of 

Pavilioned in splendor, and girded with 

2 O tell of his might. O sing of his grac\ 
Whose robe is the light, whose canopy, 

space ; 

His chariots of wrath the deep thunder- 
clouds form, 

And dark is his path on the wings of the 

3 Thy bountiful care what tongue can recite? 
It breathes in the air, it shines in the light, 
I: streams from the hills, it descends to the 

And sweetly distills in the dew and the 

Frail children of dust, and feeble as frail, 
In thee do we trust, nor find thee to fail ; 
Thy mercies how tender : how firm to the 

end ! 
Our Maker, Defender, Redeemer, and 

Friend. Robert Grant. 

This noble and much-admired metrical 
, version of Psalm civ. appeared in Bicker- 
i steth's Church Psalmody. 1833. The au- 
I thor died in 1S38, and the following year 
! his eleven hymns and other poems were 
j collected and published by his brother, 
, Lord Glenelg, under the title, Sacred 
Poems. 1839, in which volume this hymn 
j is found. The third and sixth stanzas of 
the original, omitted above, are here giv- 

The earth, with its stores of wonders untold. 
Almighty. Thy power hath founded of old. 
Hath stablished it fast by a changeless decree, 
And round it hath cast, like a mantle, the sea. 

O measureless might, ineffable Love \ 
While angels delight to hymn Thee above, 
, The humble creation, though feeble their lays 
' With true adoration shall lisp to Thy praise. 



C. M. 


OY to the world ! the Lord is come ; 

Let earth receive her King ; 
Let every heart prepare him room, 

And heaven and nature sing. 

2 Joy to the world ! the Saviour reigns ; 

Let men their songs employ ; 
While fields and floods, rocks, hills and 
Repeat the sounding joy. 

3 No more let sin and sorrow grow, 

Nor thorns infest the ground ; 
He comes to make his blessings flow 
Far as the curse is found. 

4 He rules the world with truth and grace, 

And makes the nations prove 
The glories of his righteousness, 
And wonders of his love. 

Isaac Watts. 

Title: "The Messiah's Coming and King- 
dom" It is a free rendering of the last 
part of Psalm xcviii.: 

Sing unto tho Lord with the harp ; with the 
harp, and the voice of a psalm. With trum- 
pets and sound of cornet make a joyful noise 
before the Lord, the King. Let the sea roar, 
and the fullness thereof ; the world, and they 
that dwell therein. Let the floods clap their 
hands : let the hills be joyful together before 
the Lord ; for he cometh to judge the earth : 
with righteousness shall he judge the world, 
and the people with equity. 

Published in 1719, this glad Christ- 
mas song has found its way into many col- 
lections of hymns. It is a general favor- 
ite. As given here it is entire, and we 
find no changes except in verse three, 
line one, where the original has "sins and 

This hymn is full of faith and Chris- 
tian hope. The joy of the advent of Christ 
is a "joy unspeakable." No man can tell 
it, but this hymn comes as near giving 
adequate expression to that joy as can be 
done by human language. 

Few hymns ever written have been sung 

to tunes so popular and so well adapted 
to the words as "Antioch" is to this hap- 
py and joyful advent song. 


C. M. 

HARK the glad sound ! the Saviour comes, 
The Saviour promised long ! 
Let every heart prepare a throne, 
And every voice a song. 

2 He comes, the prisoner to release, 

In Satan's bondage held ; 
The gates of brass before him burst, 
The iron fetters yield. 

3 He comes, from thickest films of vice 

To clear the mental ray, 
And on the eyes oppressed with night 
To pour celestial day. 

4 He comes, the broken heart to bind, 

The wounded soul to cure, 
And, with the treasures of his grace, 
To enrich the humble poor. 

5 Our glad hosannas, Prince of Peace, 

Thy welcome shall proclaim ; 
And heaven's eternal arches ring 
With thy beloved name. 

Philip Doddridge. 

Title: "Christ's Message:' This is gen- 
erally regarded as Dr. Doddridge's master- 
piece. It was written to be sung at the 
close of a Christmas sermon preached De- 
cember 28, 1735. The text of the sermon, 
and of the hymn as well, is Luke iv. 18, 

The Spirit of the Lord is upon me, because 
he hath anointed me to preach the gospel to 
the poor ; he hath sent me to heal the broken- 
hearted, to preach deliverance to the captives, 
and recovering of sight to the blind, to set at 
liberty them that are bruised, to preach the 
acceptable year of the Lord. 

Its first appearance in print, so far as 
known, was in the Translations and Para- 
phrases of the Church of Scotland, pub- 
lished in 1745. It is also found in the au- 
thor's Hymns, 1755. In the first manu- 
script copy of the hymn (which is still 




preserved in the Rooker Collection) line 
one of the third stanza has "the thick'* 
instead of "thickest," and line three has 
"the eye-balls of the blind" instead of "the 
eyes oppressed with night." In the fourth 
stanza, line two, the author wrote "bleed- 
ing" instead of "wounded." The second 
and sixth stanzas of the original, omitted 
above, are: 

2 On him the Spirit, largely poured, 
Exerts its sacred fire ; 
Wisdom and might and zeal and love 
His holy breast inspire. 

6 His silver trumpets publish loud 
The Jub'lee of the Lord ; 
Our debts are all remitted now, 
Our heritage restored. 

"The finest of all Doddridge's hymns," 
says Horder, "one of the noblest hymns 
ever written, alike as to style and sub- 
stance. There is a mingling of boldness 
and tenderness, a suitability and melody 
in its style, that stamp it as a master- 


8s, 7s. 


ARK ! what mean those holy voices, 

Sweetly sounding through the skies? 
Lo ! the angelic host rejoices ; 
Heavenly hallelujahs rise. 

2 Listen to the wondrous story, 

Which they chant in hymns of joy : 
"Glory in the highest, glory, 
Glory be to God most high ! 

3 Peace on earth, good will from heaven, 

Reaching far as man is found ; 
Souls redeemed and sins forgiven ! 
Loud our golden harps shall sound. 

4 Christ is born, the great Anointed ; 

Heaven and earth his praises sing ; 
O receive whom God appointed, 

For your Prophet, Priest, and King. 

5 Hasten, mortals, to adore him ; 

Learn his name, and taste his joy ; 
Till in heaven ye sing before him, 
'Glory be to God most high !' " 

John Caiuood. 

Title: "For Christmas Day" Several 
slight verbal changes have been made 
since the hymn was first published. The 
author wrote verse one as follows: 

Hark ! what mean those holy voices, 

Sweetly warbling in the ski' 
Sure the angelic host rejoices ; 

Loudest hallelujahs rise. 

In verse four he wrote in line two, 
"Heaven and earth his glory sing;" and 
in line three: "Glad receive whom God ap- 

Each stanza in the original was fol- 
lowed by a "Hallelujah." These changes 
were without doubt made by Dr. Thomas 
Cotterill for his Sheffield Collection, 1819. 

Lyra Britannica gives an additional 

Let us learn the wondrous story 
Of our great Redeemer's birth ; 

Spread the brightness of his glory 
Till it cover all the earth. 


C. M. D. 

IT came upon the midnight clear, 
That glorious song of old, 
From angels bending near the earth 

To touch their harps of gold ; 
"Peace on the earth, good will to men, 

From heaven's all-gracious King:" 
The world in solemn stillness lay 
To hear the angels sing. 

2 Still through the cloven skies they come 

With peaceful wings unfurled, 
And still their heavenly music floats 

O'er all the weary world ; 
Above its sad and lowly plains 

They bend on hovering wing, 
And ever o'er its Babel sounds 

The blessed angels sing. 

3 Yet with the woes of sin and strife 

The world hath suffered long ; 
Beneath the angel-strain have rolled 

Two thousand years of wrong; 
And man, at war with man, hears not 

The love song which they bring : 
O hush the noise, ye men of strife, 

And hear the angels sing ! 

4 And ye, beneath life's crushing load, 

Whose forms are bending low, 
Who toil along the climbing way 

With painful steps and slow, 
Look now ! for glad and golden hours 

Come swiftly on the wing: 
O rest beside the weary road, 

And hear the angels sing ! 

5 For lo ! the days are hastening on 

By prophet-bards foretold, 




When with the ever-circling years 
Comes round the age of gold ; 

When peace shall over all the earth 
Its ancient splendors fling, 

And the whole world send back the song 
Which now the angels sing. 

Edmund H. Sears. 

"Peace on Earth" is the title of this 
hymn, which first appeared in the Chris- 
tian Register, of Boston, in December, 
1850, though it had been sent to Dr. Mor- 
rison, the editor, a year before this, in 
December, 1849. "I was very much de- 
lighted with it," writes Dr. Morrison, 
"and before it came out in the Register I 
read it at a Christmas celebration of Dr. 
Lunt's Sunday school in Quincy. I al- 
ways feel that, however poor my Christ- 
mas sermon may be, the reading and sing- 
ing of this hymn are enough to make up 
for all deficiencies." 

HI 7s D. 

HARK ! the herald angels sing, 
"Glory to the newborn King; 

Peace on earth, and mercy mild ; 

God and sinners reconciled." 

Joyful, all ye nations, rise, 

Join the triumph of the skies ; 

With angelic hosts proclaim, 

"Christ is born in Bethlehem." 
Hark ! the herald angels sing, 
"Glory to the newborn King." 

2 Christ, by highest heaven adored, 
Christ, the everlasting Lord : 
Late in time behold him come, 
Offspring of a virgin's womb. 
Veiled in flesh the Godhead see, 
Hail the incarnate Deity ! 
Pleased as man with men to appear, 
Jesus our Immanuel here. 

3 Hail the heaven-born Prince of Peace ! 
Hail the Sun of righteousness ! 
Light and life to all he brings, 

Risen with healing in his wings : 
Mild he lays his glory by, 
Born that man no more may die ; 
Born to raise the sons of earth ; 
Born to give them second birth. 

4 Come, Desire of nations, come ! 
Fix in us thy humble home : 

Rise, the woman's conquering seed, 
Bruise in us the serpent's head ; 
Adam's likeness now efface, 
Stamp thine image in its place : 

Second Adam from above, 
Reinstate us in thy love. 

Charles Wesley. 

Title: "Hymn for Christmas Day." It 
has ten stanzas in all, and is found in 
Hymns and Sacred Poems, 1739. The first 
couplet has been changed. Wesley wrote: 

Hark how all the welkin rings, 
Glory to the King of kings. 

The change was made by the Rev. Mar- 
tin Madan in 1760, and was adopted by 
John Wesley in some of his collections. 

At the session of the Joint Commission 
held at Plymouth, Mass., Bishop Hoss, in 
speaking of changes of text, made this 
striking remark: "The professional hymn- 
tinker is an odious creature." That is 
true, yet some changes are for the better. 
Here is a case where the hymn-mender 
has improved Charles Wesley. 

The original of verse four, line five, is: 
"Adam's likeness, Lord, efface." Who is 
responsible for the weakening of that line 
is more than this writer can tell. 

This is the first and only hymn by 
Charles Wesley that was ever included in 
the English Book of Common Prayer. Of 
this hymn Dr. Julian says: 

This hymn is found in a greater number of 
hymn books, both old and new, than any oth- 
er of C. Wesley's compositions ; and amongst 
English hymns it is equaled in popularity only 
by Toplady's "Rock of Ages" and Bishop 
Ken's morning and evening hymns, and is 
excelled by none. 

112 6, 6, 6, 6, 12, 12. 

THERE'S a song in the air ! 
There's a star in the sky ! 
There's a mother's deep prayer, 
And a baby's low cry ! 
And the star rains its fire while the beautiful 

For the manger of Bethlehem cradles a King. 

2 There's a tumult of joy 

O'er the wonderful birth, 
For the Virgin's sweet boy 
Is the Lord of the earth. 
Ay ! the star rains its fire while the beautiful 

For the manger of Bethlehem cradles a King ! 



3 In the light of that star 
Lie i he ages Impearled ; 
And that song from afar 
Has swept over the world. 
Every hearth is aflame, and the beautiful 

In the homes of the nations that Jesus is 
. King ! 

4 We rejoice in the light, 

And we echo the song 
That comes down through the night 
From the heavenly throng. 
Ay ! we shout to the lovely evangel they 

And we greet in his cradle our Saviour and 
King ! 

Josiah G. Holland. 

From the author's Complete Poetical 
Writings, New York, 1879, where it bears 
the title "A Christmas Carol." There are 
few things that have come from the pen 
of this gifted and versatile author that 
bear the marks of poetic genius in a high- 
er degree than this bright and beautiful 
Christmas song. 

This is, we believe, the first use of this 
carol in any large Church hymnal. 


Sz, 7s. 61. 

ANGELS, from the realms of glory, 
Wing your flight o'er all the earth ; 
Ye who sang creation's story, 
Now proclaim Messiah's birth : 
Come and worship, 
Worship Christ, the newborn King. 

2 Shepherds, in the field abiding, 

Watching o'er your flocks by night, 
God with man is now residing ; 

Yonder shines the infant light : 
Come and worship, 
Worship Christ, the newborn King. 

3 Sages, leave your contemplations, 

Brighter visions beam afar ; 
Seek the great Desire of nations ; 

Ye have seen his natal star : 
Come and worship, 
Worship Christ, the newborn King. 

4 Saints, before the altar bending, 

Watching long in hope and fear, 
Suddenly the Lord, descending, 

In his temple shall appear : 
Come and worship, 
Worship Christ, the newborn King. 

5 Sinners, wrung with true repentance, 
Doomed for guilt to endless pains, 
Justice now revokes the sentence, 
Mercy calls you, break your chains : 
Come and worship, 
Worship Christ, the newborn King. 

James Montgomery. 

Title: "Christmas." Unaltered and en- 
tire. It was contributed to Thomas Cot- 
terill's Selection, 1819. 

This cannot be called a hymn except by 
courtesy. It is a Christmas song, a dig- 
nified call to "worship Christ." A hymn 
is "An ode or song of praise." (Web- 
ster.) This poem is an exhortation to 
"angels," "shepherds," "sages," "saints," 
and "sinners" to come and worship Christ, 
"the newborn King." It may properly be 
called a spiritual song, a term of wide 
significance, a song very appropriate for 
the Christmas season. 


lis, 10s. 

BRIGHTEST and best of the sons of the 
Dawn on our darkness, and lend us thine 
aid ; 
Star of the East, the horizon adorning, 
Guide where our infant Redeemer is laid. 

2 Cold on his cradle the dewdrops are shin- 

ing ; 
Low lies his head with the beasts of the 

stall ; 
Angels adore him, in slumber reclining, 
Maker, and Monarch, and Saviour of all. 

3 Say, shall we yield him, in costly devotion, 

Odors of Edom and offerings divine, 
Gems of the mountain, and pearls of the 

Myrrh from the forest, and gold from the 


4 Vainly we offer each ample oblation ; 

Vainly with gifts would his favor se- 
cure ; 
Richer by far is the heart's adoration ; 
Dearer to God are the prayers of the poor. 

5 Brightest and best of the sons of the morn- 

Dawn on our darkness and lend us thine 
aid ; 
Star of the East, the horizon adorning, 
Guide where our infant Redeemer is laid. 
Reginald Heoer. 



"Star of the East" is the title of this 
hymn, which was first published in the 
Christian Observer, November, 1811. It is 
also found in the author's Hymns, 1827. 

"Few hymns of merit," says Dr. Julian, 
"have troubled compilers more than this. 
Some have held that its use involved the 
worshiping of a star, while others have 
been offended with its meter as being too 
suggestive of a solemn dance. ... It 
has, however, become one of the most 
widely used of the Bishop's hymns." If 
to write thus of the "Star of the East" is 
to worship a star, then to sing Bishop 
Phillips Brooks's beautiful hymn begin- 
ning, "0 little town of Bethlehem," would 
involve the worship of a town! Of course 
to address thus inanimate things made 
sacred by their association with Christ is 
but another way of worshiping him 
whose presence made everything he 
touched seem sacred. 

115 C. M. 

WHILE shepherds watched their flocks by 
All seated on the ground, 
The angel of the Lord came down, 
And glory shone around. 

2 "Fear not !" said he ; for mighty dread 

Had seized their troubled mind, 
"Glad tidings of great joy I bring, 
To you and all mankind. 

3 To you, in David's town, this day 

Is born, of David's line, 
The Saviour, who is Christ the Lord ; 
And this shall be the sign : 

4 "The heavenly babe you there shall find 

To human view displayed, 
All meanly wrapped in swathing bands, 
And in a manger laid." 

5 Thus spake the seraph ; and forthwith 

Appeared a shining throng 
Of angels praising God on high, 
Who thus addressed their song : 

. 6 "All glory be to God on high, 
And to the earth be peace : 
Good will henceforth from heaven to men, 
Begin and never cease !" 

Tate and Brady. 

This Christmas carol did not appear in 


the first edition of the New Version of the 
Psalms, 1696, but in a supplement pub- 
lished later. It is supposed to have been 
written by Nahum Tate, who was appoint- 
ed Poet Laureate in 1690. It is a metric- 
al rendering of the story given in Luke 
ii., verses 8-14. 

116 8s, 7s. 

COME, thou long-expected Jesus, 
Born to set thy people free : 
From our fears and sins release us, 
Let us find our rest in thee. 

2 Israel's strength and consolation, 

Hope of all the earth thou art ; 
Dear desire of every nation, 
Joy of every longing heart. 

3 Born thy people to deliver, 

Born a child, and yet a King; 
Born to reign in us forever, 

Now thy gracious kingdom bring. 

4 By thine own eternal Spirit, 

Rule in all our hearts alone ; 
By thine all-sufficient merit, 
Raise us to thy glorious throne. 

Charles Wesley. 
From the author's Hymns for the Na- 
tivity of our Lord, 1744. It seems to be 
based on Haggai ii. 7: "The Desire of all 
nations shall come." It is one of Charles 
Wesley's finest hymns. 


P. M. 

N the field with their flocks abiding, 
. They lay on the dewy ground ; 
And glimmering under the starlight, 

The sheep lay white around ; 
When the light of the Lord streamed o'er 
And lo ! from the heaven above, 
An angel leaned from the glory, 
And sang his song of love. 

He sang, that first sweet Christmas, 

The song that shall never cease, 
"Glory to God in the highest, 
On earth good will and peace." 
"To you in the city of David 
A Saviour is born to-day !" 
And sudden a host of the heavenly ones 

Flashed forth to join the lay. 
O never hath sweeter messago 

Thrilled home to the souls of men, 
And the heavens themselves had never 
A gladder choir till then. 



For they sang that Christmas carol 
That never on earth shall cease, 

"Glory to God in the highest, 
On earth good will and peace." 

3 And the shepherds came to the manger, 
And gazed on the Holy Child ; 
And calmly o'er that rude cradle 

The virgin mother smiled ; 
And the sky in the starlit silence, 

Seemed full of the angel lay: 
"To you in the city of David 
A Saviour is horn to-day!" 

O they sang, and I ween that never 

The carol on earth shall cease. 
"Glory to God in the highest, 
On earth good will and peace." 

Frederick W. Farrar. 

The reader of this Christmas carol will 
find a poetic beauty in nearly every line. 
So many Christmas songs have been writ- 
ten that nothing less than genius could 
produce something both new and good. It 
was published in 1890 in New York by 
Thomas Whittaker in connection with 
Truths to Live By. We have here the au- 
thor's text unaltered and entire. 


5, 6, 8, 5, 5, 8. 

FAIREST Lord Jesus ! 
Ruler of all nature ! 
O thou of God and man the Son ! 
Thee will I cherish, 
Thee will I honor, 
Thee, my soul's glory, joy, and crown. 

2 Fair are the meadows, 
Fairer still the woodlands, 

Robed in the blooming garb of spring ; 

Jesus is fairer, 

Jesus is purer, 
Who makes the woeful heart to sing. 

3 Fair is the sunshine, 
Fairer still the moonlight, 

And all the twinkling starry host; 

Jesus shines brighter, 

Jesus shines purer 
Than all the angels heaven can boast. 
From the German. 

In the Minister Hymn Book, 1677, the 
German original of this hymn appeared as 
the first of "three beautiful selected new 
hymns." It begins, "Schonster Herr 
Jesu." and has five stanzas. In a volume 
titled Heart Melodies, London (without 

date), it is designated as "Crusader's 
Hymn of the 12th Century. This air and 
hymn used to be sung by the German pil- 
grims on their way to Jerusalem." For 
these statements there does not, in the 
judgment of Dr. Julian, appear to be any 
authority, as he has been unable to trace 
the air referred to farther back than 1842 
or the words to an earlier date than 1677. 
The translation above given was pub- 
lished by R. S. Willis (a brother of the 
poet N. P. Willis) in his Church Chorals, 
1850. This led to the translation's being 
accredited to Mr. Willis, but he disclaimed 
the authorship himself and declared that 
he did not know the author and did not 
remember where he obtained the trans- 

119 Us, 12s. 

SHOUT the glad tidings, exultingly sing, 
Jerusalem triumphs, Messiah is King ! 

1 Zion, the marvelous story be telling, 

The Son of the Highest, how lowly his 
birth ! 
The brightest archangel in glory excelling, 
He stoops to redeem thee, he reigns upon 
earth ! 
Shout the glad tidings, exultingly sing, 
Jerusalem triumphs, Messiah is King ! 

2 Tell how he cometh ; from nation to na- 

The heart-cheering news let the earth 

echo round ; 
How free to the faithful he offers salvation, 
How his people with joy everlasting are 


3 Mortals, your homage be gratefully bring- 

And sweet let the gladsome hosanna 
arise ; 
Ye angels, the full hallelujah be singing ; 
One chorus resound through the earth 
and the skits. 

William A. Muhlenburg. 

Written at the special request of Bish- 
op Hobart for the popular tune ''Alison." 
It first appeared in Hymns of the Prot- 
estant Episcopal Church, 1826. It is un- 
altered and complete. 

"This is distinctly a Christmas hymn," 
says Dr. Bodine, "which can never lose 



either popularity or power. Its language 
is that of faith and hope and most buoy- 
ant cheer." 


8s, 6s. D. 

LONG years ago o'er Bethlehem's hills 
Was seen a wondrous thing ; 
As shepherds watched their sleeping flocks, 

They heard the angels sing. 
The anthem rolled among the clouds 

When earth was hushed and still ; 
Its notes proclaimed sweet peace on earth, 

To all mankind good will. 
"Glory to God in the highest," 

The angels' song resounds, 
"Glory to God in the highest !" 

2 That song is sung by rich and poor, 

Where'er the Christ is known ; 
'Tis sung in words, and sung in deeds, 

Which bind all hearts in one. 
Angels are still the choristers, 

But we the shepherds are, 
To bear the message which they bring, 

To those both near and far. 
"Glory to God in the highest," 

The angels' song resounds, 
"Glory to God in the highest !" 

Leigh R. Brexcer. 

The author of this hymn is the Prot- 
estant Episcopal Bishop of Montana. He 
writes as follows on November 15, 1907, 
concerning the origin of the hymn: 

I wrote that hymn or Christmas carol — 
which I called "The Angels' Song" — just be- 
fore Christmas in 1892. I had just received 
from a dear friend a gift of five thousand dol- 
lars for my missionary work in Montana ; 
and I wrote this as a Christmas greeting and 
remembrance. The last verse of the original, 
which does not appear in the hymn as here 
published, expressed my gratitude and was as 
follows : 

"God bless all those who help to give 
From burdens a release ! 
God send his blessings on their homes 
And fill their lives with peace !" 

Meeting Mr. C. Whitney Coombs some time 
after that, he asked for the carol that he 
might set it to music. I gave it to him, and 
he made two settings for it in music, one as 
a solo and the other as a quartet, and pub- 
lished it. The next year I asked him to set 
it to music that could be sung by Sunday 
school children. He did so, and I had it pub- 
lished in leaflet form and had it sung in all 
our Sunday schools at their Christmas fes- 

tival. I then wrote a chorus for it which Mr. 
Coombs used nearly as I wrote it. The cho- 
rus was as follows : 

"Glory to God ! in highest heavens 
The angels' song resounds. 
Glory to God ! in answering strains 
From earth's remotest bounds." 
In the first edition of the Methodist 
Hymnal this hymn was erroneously at- 
tributed to C. Whitney Coombs, growing 
out of the fact that he was the first com- 
poser who set it to music. 

121 8s, 6s. D. Irregular. 

LITTLE town of Bethlehem, 
How still we see thee lie ! 
Above thy deep and dreamless sleep 

The silent stars go by ; 
Yet in thy dark streets shineth 

The everlasting Light ; 
The hopes and fears of all the years 
Are met in thee to-night. 

2 For Christ is born of Mary, 

And gathered all above, 
While mortals sleep, the angels keep 

Their watch of wondering love. 
O morning stars, together 

Proclaim the holy birth, 
And praises sing to God the King, 

And peacj to men on earth! 

3 How silently, how silently, 

The wondrous gift is given ! 
So God imparts to human hearts 

The blessings of his heaven. 
No ear may hear his coming, 

But in this world of sin, 
Where meek souls will receive him still, 

The dear Christ enters in. 

4 O holy Child of Bethlehem! 

Descend to us, we pray ; 
Cast out our sin, and enter in, 

Be born in us to-day. 
We hear the Christmas angels 

The great glad tidings tell ; 
O come to us, abide with us, 

Our Lord Immanuel ! 

Phillips Brooks. 

This fine Christmas carol was first used 
at a Sunday school service in the Church 
of the Holy Trinity, Philadelphia, in 1868, 
when Phillips Brooks was its rector. Mr. 
Lewis H. Redner, the organist of the 
Church, wrote the music for the occa- 
sion. As originally printed one stanza is 
here omitted, the fourth: 



Where children, pure and happy, 

Tray to the Blessed Child; 
Where misery cries out to thee, 

Son of the Mother mild ; 
Where charity stands watching, 

And faith holds wide the door, 
The dark night wakes, the glory breaks, 

And Christmas comes once more. 

Bishop Brooks wrote other hymns more 
valuable than this, but they are not so 
well known. For example, we will name 
"The Voice of the Christ-Child" and "Eas- 
ter Angels." These are not ordinary 
poems, but majestic songs, marked with 
originality both of thought and expres- 
sion. They are natural and unpreten- 
tious, but, like the man who wrote them, 
strong and sweet. 


P. M. 

THOU didst leave thy throne and thy king- 
ly crown, 
When thou earnest to earth for me ; 
But in Bethlehem's home there was found 
no room 
For thy holy nativity. 
O come to my heart, Lord Jesus ! 
There is room in my heart for thee. 

2 Heaven's arches rang when the angels sang, 

Proclaiming thy royal degree ; 
But in lowly birth didLt thou come to earth, 

And in grcit humility. 
O come to my heart, Lord Jesus ! 

There is room in my heart for thee. 

3 The foxes found rest, and the birds their 

In the shade of the forest tree ; 
But thy couch was the sod, O thou Son of 
In the deserts of Galilee. 
O come to my Heart, Lord Jesus ! 
There i.s room in my heart for thee. 

4 Thou earnest, O Lord, with the living word, 

That should set thy people free ; 
But with mocking scorn, and with crown of 

They bore thee to Calvary. 
O come to my heart, Lord Jesus ! 

Thy cross is my only plea. 

5 When heaven's arches ring, and her choirs 

shall sing 
At thy coming to victory, 
Let thy voice call me home, saying, "Yet 
there is room, 
There is room at my side for thee." 

And my heart shall rejoice, Lord Jesus, 
When thou comest and calkst for me. 
Emily E. S. Elliott. 

This hymn was first privately printed 
in 1864 for the choir and schools of St. 
Mark's, Brighton, England, and in 1870 it 
was published in the Church Missionary 
Juvenile Instructor, of which the author 
was editor for six years. It also appears 
in her Chimes of Consecration and Faith, 
1873. She was much interested in home 
mission work. She was a niece of Char- 
lotte Elliott, author of "Just as I am." 


P. M. 

SILENT night! Holy night! 
All is calm, all is bright ; 
Round yon virgin mother and Child! 
Holy Infant, so tender and mild, 
Sleep in heavenly peace, 
Sleep in heavenly peace. 

2 Silent night! Holy night! 
Shepherds quake at the sight ! 
Glories stream from heaven afar, 
Heavenly hosts sing Alleluia. 
Christ, the Saviour, is born! 
Christ, the Saviour, is born ! 

3 Silent night! Holy night! 
Son of God, love's pure light 
Radiant beams from thy holy face, 
With the dawn of redeeming grace, 
Jesus, Lord, at thy birth, 

Jesus, Lord, at thy birth. 

Joseph Mohr. 

Title: "Christmas:' From the German, 
"Stille Nacht! Heilige Nacht!" 

This carol was written for a Christmas 
service in 1818. The question naturally 
arises, Who translated it into English? 
And the answer is not at hand. It is 
found in C. L. Hutchins's Sunday School 
Hymnal, 1871, where it is published anon- 
ymously. It also appears in The Ep- 
worth Hymnal, No. 2, with this author's 


L. M. 


HEN, marshaled on the nightly plain, 
The glittering hosts bestud the sky, 
One star alone of all the train 

Can fix the sinner's wand'ring eye. 



2 Hark! hark! to God the chorus breaks, 

From every host, from every gem; 
But one alone the Saviour speaks, 
It is the Star of Bethlehem. 

3 It is my guide, my light, my all ; 

It bids my dark forebodings cease; 
And through life's storm and danger's 
It leads me to the port of peace. 

4 Thus, safely moored, my perils o'er, 

I'll sing first in night's diadem, 
Forever, and for evermore, 

The Star! the Star of Bethlehem! 

H. Kirke White. 

This poem on "The Star of Bethlehem" 
was first published in 1812 in a collection 
of hymns prepared by Dr. W. B. Collyer, 
titled A Supplement to Dr. Watts's Psalms 
and Hymns. The author had died six 
years before in his twenty-second year, 
while he was a student at Cambridge Uni- 
versity, preparing to enter the Christian 
ministry. He had already given such un- 
usual evidence of poetic genius as to at- 
tract the attention of the literary world. 
Southey wrote a memoir of him, and 
Lord Byron composed some beautiful lines 
on the occasion of his death. 

The third and fourth stanzas of the orig- 
inal, omitted above, are: 

3 Once on the raging seas I rode, 

The storm was loud, the night was 

The ocean yawned, and rudely blowed 
The wind that tossed my foundering 


4 Deep horror then my vitals froze ; 

Death-struck, I ceased the tide to stem; 
When suddenly a star arose, 
It was the Star of Bethlehem. 

In the third stanza above "was" has 
been changed to "is," and "bade" to 
"bids," "the storm" to "life's storm," "led" 
to "leads;" and in verse four, "Now" to 

When only seventeen years old the au- 
thor published a volume titled Clifton 
Grove and Other Poems, which was consid- 
ered a remarkable production for one so 
young. At this time he was skeptical in 

religion, but through the perusal of Scott's 
Force of Truth and the personal influence 
of a dear friend he became a devout and 
earnest believer in Christ. The above 
hymn was written to describe his religious 
experience and to commemorate his con- 
version, with special reference to the spir- 
itual skepticism that had marked his unre- 
generate state and turned his life into a 
"raging sea," on which his foundering 
bark was tossed in the darkened night, 
when suddenly the "Star of Bethlehem" 
arose, guiding him to the "port of peace." 

125 ' Us. 

OCOME, all ye faithful, triumphantly sing ! 
Come, see in the manger the angels' dread 
King ! 
To Bethlehem hasten with joyful accord ; 
O hasten ! O hasten ! to worship the Lord. 

2 True Son of the Father, he comes from the 

skies ; 

The womb of the Virgin he doth not de- 
spise ; 

To Bethlehem hasten, with joyful accord ; 

O hasten ! O hasten ! to worship the Lord. 

3 O hark to the angels, all singing in heaven, 
"To God in the highest, all glory be given !" 
To Bethlehem hasten, with joyful accord, 

O hasten ! O hasten ! to worship the Lord. 

4 To thee, then, O Jesus, this day of thy 

Be glory and honor through heaven and 

earth ; 
True Godhead Incarnate, Omnipotent 

Word ! 
O hasten ! O hasten ! to worship the Lord. 
From the Latin. Tr. by Edward Caswall. 

Title: "Adeste Fideles." The author of 
the Latin hymn is unknown. This trans- 
lation was made for the Lyra Catholica, 
1848. The translator's title was "Hymn 
for Christmas Day." 

126 C. M. 


HAT grace, O Lord, and beauty shone 

Around thy steps below ! 
What patient love was seen in all 

Thy life and death of woe ! 

2 For, ever on thy burdened heart 
A weight of sorrow hung ; 
Yet no ungentle, murmuring word 
Escaped thy silent tongue. 



:; Thy foes might hate, despise, revile, 
Thy friends unfaithful prove; 
Unwearied In forgiv< ness still, 

Thy heart could only love. 

4 O give us hearts to love like thee, 

Like thee, O Lord, to grieve 
Far more for others' sins, than all 
The wrongs that we receive. 

5 One with thyself, may every eye 

In us, thy brethr< n, see 
That gentleness and grace that spring 
From union, Lord, with thee. 

Edward Denny. 

"The Forgiving One" is the author's ti- 
tle to this hymn in his Selection of 
Hymns, 1839, and also in his Hymns and 
Poems, 1848. It is based on Psalm xlv. 2, 
"Grace is poured into thy lips," in so far 
as these words of the Psalmist find their 
perfect exemplification in the life and 
character of Christ. Sir Edward Denny, 
who was a wealthy landlord, owning an 
estate in County Kerry, Ireland, was len- 
ient and considerate toward his tenants 
and enjoyed their respect and love. A 
devout and useful servant of Christ in 
private, he rarely ever took part in any 
public exercises. 


L. M. 


OW beauteous were the marks divine, 
That in thy meekness used to shine, 
That lit thy lonely pathway, trod 
In wondrous love, O Son of God ! 

2 O who like thee, so mild, so bright, 
Thou Son of man, thou Light of Light? 
O who like thee did ever go 

So patient, through a world of woe? 

3 O who like thee so humbly bore 
The scorn, the scoffs of men, before? 
So meek, so lowly, yet so high, 

So glorious in humility? 

4 And death, that sets the prisoner free, 
Was pang, and scoff, and scorn to thee ; 
Yet love through all thy torture glowed, 
And mercy with thy lifeblood flowed. 

5 O wondrous Lord, my soul would be 
Still more and more conformed to thee, 
And learn of thee, the lowly One, 
And like thee, all my journey run. 

A. Cleveland Coxe. 

Title: "Hymn to the Redeemer." The 

original has seven eight-line stanzas. 
Slight changes have been made in three 
lines. In verse one, line four, the author 
wrote, "In wondrous love, oh Lamb of 
God;" in verse two, line one, "Oh! who 
like Thee, so cairn, so bright;" and in 
verse three, line three, "So meek, forgiv- 
ing, God-like, high." 

These changes of the text, in our judg- 
ment, are not improvements. 

From the first edition of Christian Bal- 
lads, New York, 1840. 


C. M. 


E may not climb the heavenly steeps 
To bring the Lord Christ down : 
In vain we search tlfe lowest deeps, 
For him no depths can drown. 

2 But warm, sweet, tender, even yet 

A present help is he ; 
And faith has still its Olivet, 
And love its Galilee. 

3 The healing of the seamless dress 

Is by our beds of pain ; 
We touch him in life's throng and press, 
And we are whole again. 

4 Through him the first fond prayers are said 

Our lips of childhood frame ; 
The last low whispers of our dead 
Are burdened with his name. 

5 O Lord and Master of us all, 

Whate'er our name or sign, 
We own thy sway, we hear thy call, 
We test our lives by thine ! 

John G. Whittier. 

"Our Master" is the author's title to the 
beautiful poem of thirty-eight stanzas 
from which this hymn is taken, being 
composed of the fifth, thirteenth, four- 
teenth, fifteenth, and sixteenth stanzas of 
the original. It first appeared in the au- 
thor's volume titled The Panorama and 
Other Poems, 1856. The first two stanzas 
of the original poem make, in our judg- 
ment, a much finer beginning for a hymn 
than the above, and it is to be regretted 
that they were not used: 

Immortal Love, forever full, 

Forever flowing free, 
Forever shared, forever whole, 

A never-ebbing sea ! 



Our outward lips confess the Name 

All other names above ; 
Love only knoweth whence it came 

And comprehendeth love. 

Whittier is the most religious of all our 
American poets and the most frequently 
quoted in the pulpit. The secret of his 
popularity among believers of all names 
and creeds is found in the poem from 
which this hymn is taken. 

There is a town in California named aft- 
er the poet — "Whittier." Not long before 
the author died a Protestant Episcopal 
Church was dedicated in this beautifully 
located town, and on that occasion he 
wrote to some friends in this Church a 
letter, thoroughly characteristic of his 
own simple faith and large-hearted reli- 
gion. The letter contained the following 
noble Christian sentiments: 

I see the good in all denominations, and 
hope that all will be represented in the settle- 
ment ; diligent in business and serv- 
ing the Lord, not wasting strength and vital- 
ity in spasmodic emotions, not relying on 
creed and dogma, but upon faithful obedience 
to the voice of God in the soul. I see your 
town is spoken of as an orthodox Quaker col- 
ony. I hope there will be no sectarian fence 
about 'Whittier,' but that good men, irre- 
spective of their creeds, will find a home 
there. Nothing would be worse for it than 
to have the idea get abroad that anything 
like intolerance and self-righteousness was its 
foundation. I am gratified to know that the 
people of the town which bears my name will 
remember me on my birthday. I watch its 
growth with great interest. It has the repu- 
tation among all who have seen it that it oc- 
cupies one of the loveliest sites in California, 
and that in a moral and religious and educa- 
tional point of view it need 

Fear not the skeptic's puny hand 

While near the school the church will 

stand ; 
Nor fear the blinded bigot's rule 
While near the church shall stand the 


"I am really not a hymn-writer," said 
Whittier of himself, "for the good reason 
that I know nothing of music. Only a 
very few of my poems were written for 
singing. A good hymn is the best use to 

which poetry can be devoted, but I do not 
claim that I have succeeded in composing 
one." But there are many others who 
make this claim for him. 

129 C. M. 

THE chosen three, on mountain height, 
While Jesus bowed in prayer, 
Beheld his vesture glow with light, 
His face shine wondrous fair. 

2 And lo ! with the transfigured Lord, 

Leader and seer they saw ; 
With Carmel's hoary prophet stood 
The giver of the law. 

3 From the low-bending cloud above, 

Whence radiant brightness shone, 
Spake out the Father's voice of love, 
"Hear my beloved Son !" 

4 Lord, lead us to the mountain height ; 

To prayer's transfiguring glow ; 
And clothe us with the Spirit's might 
For grander work below. 

David H. Ela. 

Written at the request of the commit- 
tee that revised the Hymnal of the Meth- 
odist Episcopal Church in 1878, and first 
published in that excellent book. The first 
three stanzas give a fine description of the 
transfiguration. The last verse is a very 
appropriate prayer for the Christian work- 

130 8s, 7s. Th 

FRIEND of sinners ! Lord of Glory ! 
Lowly, Mighty ! — Brother, King ! — 
Musing o'er thy wondrous story, 

Grateful we thy praises sing : 
Friend to help us, comfort, save us, 
In whom power and pity blend — 
Praise we must the grace which gave us 
Jesus Christ, the sinners' Friend. 

2 Friend who never fails nor grieves us, 

Faithful, tender, constant, kind ! — 
Friend who at all times receives us, 

Friend who came the lost to find : — 
Sorrow soothing, joys enhancing, 

Loving until life shall end — 
Then conferring bliss entrancing, 

Still, in heaven, the sinners' Friend ! 

3 O to love and serve thee better ! 

From all evil set us free ; 
Break, Lord, every sinful fetter; 

Be each thought conformed to thee : 


Looking - for thy bright appearing, 
.May our spirits upward tend ; 

Till, no longer doubting, fearing, 
We behold the sinners' Friend! 

C. Newman Hall. 

This hymn was composed for the au- 
thor's father, John Vine Hall, who wrote 
the well-known tract titled "The Sinner's 
Friend." It is dated Bolton Abbey, Sep- 
tember, 1857, and was first published in 
the author's Hymns composed at Bolton 
Abbey and Other Rhymes, London, 1858, 
where it has five stanzas, eight lines each. 
Only a man of ardent evangelical faith 
could write a hymn like this. His life 
best interprets the hymn. He at first ex- 
pected to enter the legal profession; but, 
following a divine call, he entered the 
ministry "simply and solely to persuade 
men to Jesus." This, says Dr. C. S. Rob- 
inson in a note written in 1893, "is the 
keynote of his whole life-labor. His the- 
ology is the theology of Calvary. Himself 
a nominal Congregationalist, he uses the 
Church of England liturgy in his Sabbath 
service; he has a Presbyterian board of 
elders; he assimilates with Methodists in 
many of his modes of labor; he is equally 
at home with Episcopalians like Bicker- 
steth or with Quakers like Bevan Braith- 

When because of increasing years he 
found it necessary to retire from the ac- 
tive work of the ministry, this was the 
record of the man and his work that was 

After preaching in the church edifice, it is 
Mr. Hall's frequent habit to go out and ad- 
dress the people in the street. Though now 
almost seventy-four years old, he stands erect 
in magnificent strength, nearly six feet in 
height. He has the muscle and endurance of 
an athlete, can climb a mountain like a mem- 
ber of the Alpine Club, and often walks a 
dozen miles on Sunday to and from his 
church. He has the element of humor in 
him, can enjoy a merry romp with children, 
and brims over with life in every direction. 
His Church numbers nearly two thousand 
members, and among them are several scores 
of converted inebriates. He is a zealous tee- 

totaler, and makes the temperance reform 
prominent, no less than five meetings for the 
promotion of total abstinence b<ing he Id ev- 
ery month ! His Church maintains thirteen 
Sunday schools, seventeen lodging houses, a 
Christian Instruction Society, and holds about 
forty services for the poor every week. 

While he was pastor of the Albion 
Church in Hull an incident occurred 
which has had far-reaching results: 

He went out one evening from a dinner 
party to preach to a throng who had gath- 
ered in the street. A primitive Methodist was 
singing to the crowd that familiar ditty, 
"Come to Jesus just now." Mr. Hall caught 
up the words and extemporized a powerful 
exhortation on the spot. He repeated it to 
his own congregation. Soon afterwards, be- 
ing confined to his room by a long illness, he 
recalled the discourse and determined to turn 
it into a short practical treatise for inquirers 
after salvation. He wrote it out in the few- 
est and simr lest words possible, and his broth- 
er, Mr. Warren Hall, printed two thousand 
copies for distribution. Such was the origin 
of that wonderful tract, "Come to Jesus," 
which has already been circulated in thirty 
different languages to the number of thre e 
million five hundred thousand copies. 


L. M. 

MASTER, it is good to be 

High on the mountain here with thee, 
"Y\ 'here stand revealed to mortal gaze 
Those glorious saints of other days, 
Who once received on Horeb's height 
The eternal laws of truth and right, 
Or caught the still small whisper, higher 
Than storm, than earthquake, or than fire. 

O Master, it is good to be 
Entranced, enwrapt, alone with thee ; 
And watch thy glistering raiment glow 
Whiter than Hermon's whitest snow ; 
The human lineaments that shine 
Irradiant with a light divine ; 
Till we too change from grace to grace, 
Gazing on that transfigured face. 

O Master, it is good to be 
Here on the holy mount with thee : 
When darkling in the depths of night, 
When dazzled with excess of light, 
We bow before the heavenly voice 
That bids bewildered souls rejoice, 
Though love wax cold, and faith be dim, 
"This is my Son, O hear ye him." 

Arthur P. Staiile:/. 



Contributed to Macm.illan's Magazine for 
April, 1870, under the following title: 
"Hymn on the Transfiguration" by the 
Dean of Westminster. 

In his preface to the hymn Dean Stan- 
ley wrote: 

It was remarked to me by a friend that he 
knew of no modern English hymn on the 
transfiguration, an incident of the gospel nar- 
rative so remarkable in itself, so full of man- 
ifold instruction, and so frequently read in 
our Church services, and which perhaps more 
fully than any other single scene contains the 
concentration of the main lessons of our 
Lord's life on earth. ... I have endeav- 
ored to combine, as far as possible, the vari- 
ous thoughts connected with the scene. 

There are six stanzas, each beginning 
with the line: "Master, it is good to be." 
The first stanza of the hymn is made of 
the first two of the poem. The other stan- 
zas are the fourth and sixth. Besides the 
prefixing of "O" to the first line of each 
stanza, there are changes in only two 
lines. Verse one, line fcur, the author 
wrote: "The great old saints of other 
days;" and in verse two, line three: 
"Watching the glistening raiment glow." 

132 8, 7, 8, 7, 7, 7. 

JESUS wept ! those tears are over, 
But his heart is still the same ; 
Kinsman, Friend, and elder Brother, 
Is his everlasting name. 

Saviour, who can love like thee, 
Gracious One of Bethany? 

2 When the pangs of trial seize us, 

When the waves of sorrow roll, 
I will lay my head on Jesus, 
Refuge of the troubled soul. 

Surely, none can feel like thee, 

Weeping One of Bethany ! 

3 Jesus wept ! and still in glory 

He can mark each mourner's tear 
Loving to retrace the story 
Of the hearts he solaced here. 

Lord, when I am called to die, 

Let me think of Bethany. 

4 Jesus wept ! that tear of sorrow 

Is a legacy of love ; 
Yesterday, to-day, to-morrow, 
He the same doth ever prove. 

Thou art all in all to me, 

Loving One of Bethany ! 

John R. MacDuff. 
"The Grave of Bethany" is the author's 
title to this hymn as first published in 
his Altar Stones, 1853, and also in his 
later volume titled The Gates of Praise, 
1876. In the last line of the hymn as giv- 
en above the author wrote "Living One" 
instead of "Loving One." It is based on 
John ii. 35: "Jesus wept." The first stan- 
za, omitted above, is: 

Who is this in silence bending 
O'er a dark sepulchral cave? 
Sympathetic sorrow blending 

With the tears around that grave? 
Christ the Lord is standing by, 
At the tomb of Bethany. 
It is because tears are a tribute of love 
to the living that they become a "legacy 
of love" when one is dead. This tender 
and beautiful portrayal of the Christ 
weeping at the grave of Lazarus is a fine 
exposition of the words of John, "Now Je- 
sus loved Martha, and her sister, and Laz- 
arus." The familiar lines of Fitz-Greene 
Halleck come to mind: 

Green be the turf above thee, 

Friend of my better days ! 
None knew thee but to love thee, 

None named thee but to praise. 
Tears fell when thou wert dying 

From eyes unused to weep, 
And long where thou art lying 

Will tears the cold turf steep. 


C. M. 

THOU art the Way :— to thee alone 
From sin and death we flee ; 
And he who would the Father seek, 
Must seek him, Lord, by thee. 

2 Thou art the Truth : — thy word alone 

True wisdom can impart ; 
Thou only canst inform the mind, 
And purify the heart. 

3 Thou art the Life : — the rending tomb 

Proclaims thy conquering arm ; 
And those who put their trust in thee 
Nor death nor hell shall harm. 

4 Thou art the Way, the Truth, the Life ; 

Grant us that way to know, 
That truth to keep, that life to win, 
Whose joys eternal flow. 

George W. Doane. 



The Scripture text of this hymn is John 
xiv. 6: "I am the way, the truth, and the 
life: no man cometh unto the Father, but 
by me." 

The hymn itself is a very happy and 
successful metrical exposition of the text. 
It is taken verbatim from the first edition 
of Songs by the Way, 1824. 

Perhaps the most frequently quoted 
lines Bishop Doaue has written are the 

"What is that, mother?" "The eagle, boy ! 
Proudly careering his course of joy, 
Firm, on his own mountain vigor relying, 
Breasting the dark storm, the red bolt defy- 
His wing on the wind, and his eye on the sun, 
He swerves not a hair, but bears onward, 
right on : 
Boy, may the eagle's flight ever be thine, 
Onward, and upward, and true to the line." 


L. M. 61. 


HEX gathering clouds around I view, 

And days are dark, and friends are few 
On Him I lean who not in vain 
Experienced every human pain ; 
He sees my wants, allays my fears, 
And counts and treasures up my tears. 

2 If aught should tempt my soul to stray 
From heavenly wisdom's narrow way, 
To fly the good I would pursue, 

Or do the sin I would not do, 

Still he who felt temptation's power, 

Shall guard me in that dangerous hour. 

3 If wounded love my bosom swell, 
Deceived by those I prized too well, 
He shall his pitying aid bestow, 
Who felt on earth severer woe, — 
At once betrayed, denied, or fled, 
By those who shared his daily bread. 

4 If vexing thoughts within me rise, 
And, sore dismayed, my spirit dies, 
Still he, who once vouchsafed to bear 
The sickening anguish of despah', 
Shall sweetly soothe, shall gently dry 
The throbbing heart, the streaming eye. 

5 When, sorrowing, o'er some stone I bend, 
Which covers what was once a friend, 
And from his voice, his hand, his smile, 
Divides me for a little while, — 

Thou, Saviour, mark'st the tears I shed, 
For thou didst weep o'er Lazarus dead. 

6 And O, wh< n I have safely passed 
Through . v< ry conflict but the last, 
Still, still unchanging, watch beside 
My painful bed, for thou hast died; 
Then point to realms of cloudless day, 
And wipe the latest tear away. 

Robert Grant. 

This was first published in the Christian 
Observer, February, 1806, and is found 
also in the author's Sacred Poems, 1839. 
It is based on Hebrews iv. 15: "For we 
have not a high priest which cannot be 
touched with the feeling of our infirmi- 
ties; but was in all points tempted like as 
we are, yet without sin." "The simplicity 
of the sentiment embodied in these famil- 
iar stanzas and the smoothness of the po- 
etical rhythm," says Dr. C. S. Robinson, 
"are what have rendered this piece so pop- 
ular. The troubled soul finds its relief 
in the mere sense of the Saviour's pres- 
ence." This hymn was a great favorite 
with John B. Gough, the noted temperance 
lecturer. "Very pathetic, but perhaps too 
personal for use in public worship," is 
W. G. Horder's comment on it. 


C. M. 


A.JESTIC sweetness sits enthroned 

Upon the Saviour's brow : 
His head with radiant glories crowned, 

His lips with grace o'erflow. 

2 He saw me plunged in deep distress, 

He flew to my relief ; 
For me he bore the shameful cross, 
And carried all my grief. 

3 To him I owe my life and breath, 

And all the joys I have ; 
He makes me triumph over death, 
He saves me from the grave. 

4 To heaven, the place of his abode, 

He brings my weary feet ; 

Shows me the glories of my God, 
And makes my joys complete. 

5 Since from his bounty I receive 

Such proofs cf love divine, 
Had I a thousand hearts to give, 
Lord, they should all be thine. 

Samuel Stennett. 

Title: "Chief Among Ten Thousand: or 
the Excellencies of Christ," Song of Solo- 



mon v. 10-1G. This is a hymn of more 
than average merit. It was contrib- 
uted to Rippon's Selection, 1787. One line 
only has been changed; in verse one, line 
two, the author wrote: "Upon 7m aivful 

This hymn has nine stanzas in the orig- 
inal. These are verses three, five, seven, 
eight, and nine. 

Four stanzas are omitted, which some 
will be glad to see: 

1 To Christ, the Lord, let every tongue 

Its noblest tribute bring : 
"When he's the subject of the song, 
Who can refuse to sing? 

2 Survey the beauties of his face, 

And on his glories dwell ; 
Think of the wonders of his grace, 
And all his triumphs tell. 

4 No mortal can with him compare, 
Among the sons of men ; 
Fairer is he than all the fair 
That fill the heavenly train. 

6 His hand a thousand blessings pours 
Upon my guilty head ; 
His presence gilds my darkest hours, 
And guards my sleeping bed. 


5, 7s. 

THE King of love my Shepherd is, 
Whose goodness faileth never ; 
I nothing lack if I am his, 
And he is mine forever. 

2 Where streams of living water flow, 

My ransomed soul he leadeth, 
And, where the verdant pastures grow, 
With food celestial feedeth. 

3 Perverse and foolish, oft I strayed ; 

But yet in love he sought me, 
And on his shoulder gently laid, 
And home, rejoicing, brought me. 

4 In death's dark vale I fear no ill 

With thee, dear Lord, beside me ; 
Thy rod and staff my comfort still, 
Thy cross before to guide me. 

5 And so through all the length of days, 

Thy goodness faileth never ; 
Good Shepherd, may I sing thy praise 
Within thy house forever. 

Henry W. Baker. 

This is considered by some as the most 
beautiful of all the metrical versions of 

the twenty-third Psalm. The author ed- 
ited several collections of hymns, the most 
important of which was Hymns Ancient 
and Modem, 18G0. To this volume he 
published an Appendix in 1868, and it was 
in this Appendix that the above hymn 
first appeared. The fifth stanza of the 
original, omitted above, is: 

Thou spread'st a table in my sight, 
Thy unction grace bestoweth, 

And Oh ! what transport of delight 
From thy pure chalice floweth. 

The last audible words uttered by the 
author when he died, February 12, 1877, 
were the third stanza of this hymn: "Per- 
verse and foolish, oft I strayed," etc. 
"This tender sadness, brightened by a soft, 
calm peace, was an epitome of his poet- 
ical life," says Julian. "In his simplicity 
of language, smoothness of rhythm, and 
earnestness of utterance, he reminds one 
forcibly of the saintly Lyte, author of 
'Abide with Me.' " Dr. Dykes wrote for 
this hymn his lovely melody titled "Dom- 
inus Regit Me," and one of Gounod's 
most beautiful tunes was also written es- 
pecially for it. 

Among the most beautiful and widely 
admired lines the author ever wrote are 
the following, being a morning medita- 
tion and prayer and all the more valuable 
because written to express his own feel- 
ings of devotion and gratitude rather than 
for others: 

My Father, for another night 

Of quiet sleep and rest, 
For all the joy of morning light, 

Thy Holy Name be blest. 

Now with the newborn day I give 

Myself anew to thee, 
That as thou wiliest I may live, 

And what thou wiliest be. 

Whate'er I do, things great or small, 

Whate'er I speak or frame, 
Thy glory may I seek in all, 

Do all in Jesus' Name. 

My Father, for his sake, I pray, 

Thy child accept and bless ; 
And lead me by thy grace to-day 

In paths of righteousness. Amen. 



C. M. 


OW sweet the name of Jesus sounds 

In a believer's ear ! 
It soothes his sorrows, heals his wounds, 

And drives away his fear. 

2 It makes the wounded spirit whole, 

And calms the troubled breast ; 
'Tis manna to the hungry soul, 
And to the weary, rest. 

3 Dear name ! the rock on which I build, 

My shield and hiding place; 
My never-failing treasury, filled 
With boundless stores of grace ! 

4 Weak is the effort of my heart, 

And cold my warmest thought ; 
But when I see thee as thou art, 
I'll praise thee as I ought. 

5 Till then, I would thy love proclaim 

With every fleeting breath ; 
And may the music of thy name 
Refresh my soul in death. 

John Newton. 

Title: ''The Name of Jesus.'' Text: 
"Thy name is as ointment poured forth." 
(Song of Solomon i. 3.) This hymn is 
made up of the first three and last two 
stanzas of the original unaltered. 

Two stanzas are omitted. They are not 
necessary to the hymn. From the Olney 
Hymns, 1779. 

The name of Jesus is indeed precious to 
the believer. Richard Kempenfelt, an 
admiral in the British navy, expressed 
this thought beautifully many years ago: 

Sweetest sound in seraph's song, 
Sweetest note on mortal's tongue, 
Sweetest carol ever sung, 

Jesus ! Jesus ! flow along. 


L. M. 

CHRIST'S life our code, his cross our creed, 
Our common, glad confession be ; 
Our deepest wants, our highest aims, 
Find their fulfillment, Lord, in thee. 

2 Dear Son of God ! thy blessed will 

Our hearts would own, with saints above ; 
All life is larger for thy law, 
All service sweeter for thy love. 

3 Thy life our code ! in letters clear 

We read our duty day by day, 
Thy footsteps tracing eagerly 

Who art the Truth, the Life, the Way. 

4 Thy cross our creed ! thy boundless love 

A ransomed world at last shall laud, 
And crown th<'<- their eternal King, 
O Lord of Glory, Lamb of God ! 

5 Till then, to thee our souls aspire 

In ardent prayer and earnest deed, 
With love like thine confessing still 

Christ's life our code, his cross our creed. 
Benjamin Copeland. 

This was written in the parsonage study 
of the Frank Street Methodist Episcopal 
Church, Rochester, N. Y., in the early 
spring of 1900, and a week or two later it 
was published in the Northern Christian 
Advocate. Syracuse, N. Y., and also in the 
Daily Christian Advocate of the General 
Conference, in May, 1900. It is a useful 
hymn and growing in favor. 

139 L- Bl 

STRONG Son of God, immortal Love, 
Whom we, that have not seen thy face, 
By faith, and faith alone, embrace, 
Believing where we cannot prove ; 

2 Thou wilt not leave us in the dust: 

Thou madest man, he knows not why, 
He thinks he was not made to die : 
And thou hast made him : thou art just. 

3 Thou seemest human and divine, 

The highest, holiest manhood, thou : 
Our wills are ours, we know not how ; 
Our wills are ours, to make them thine. 

4 Our little systems have their day ; 

They have their day and cease to be : 
They are but broken lights of thee, 
And thou, O Lord, art more than they. 

Alfred Tennyson. 

The prologue of Tennyson's great poem, 
"In Memoriam," 1850, contains eleven 
stanzas; these are one, three, four, and 
five, unaltered. 

Tennyson believed in God and in prayer. 
In Morte D'Arthur King Arthur says to 
Sir Bedivere: 

"If thou shouldst never see my face again, 
Pray for my soul. More things are wrought 

by prayer 
Than this world dreams of. Wherefore let 

thy voice 
Rise like a fountain for me night and day. 
For what are men better than sheep or goats 
That cherish a blind life within tin- brain, 



If, knowing God, they lift not hands of 

Both for themselves and those who call them 

For so the whole round earth is every way 
Bound by golden chains about the feet of 


The story of "In Memoriam" is worth 
telling again. At Cambridge University 
Tennyson met Arthur Hallam, and they 
became great and intimate friends. Sub- 
sequently Hallam became engaged to one 
of the poet's sisters. After graduating, 
Hallam went traveling on the Continent. 
At Vienna he was taken sick and died. 
Tennyson very briefly but beautifully de- 
scribed his departure: 

In Vienna's fatal walls, 
God's finger touched him, and he slept. 

Hallam died in 1833. "In Memoriam'' did 
not appear until 1850. Tennyson took 
time to build a monument to his friend, 
and it stands to-day not only a memorial 
to Hallam, but to himself as well. 

So far as we are aware, this is the first 
American Church Hymnal that has made 
a hymn for religious worship out of 
verses selected from this great poem, 
which Frederick W. Robertson designated 
as "one of the most victorious songs that 
poet ever chanted." Many of its individ- 
ual verses are among the immortelles of 
literature, such, for instance, as the fa- 
miliar verses beginning, "Ring out, wild 
bells, to the wild sky," and closing with 
the stanza: 

Ring in the valiant man and free, 
The larger heart, the kindlier hand : 
Ring out the darkness of the land, 

Ring in the Christ that is to be. 

And the last stanza is indeed a fitting cli- 
max to this greatest of modern religious 

That God which ever lives and loves, 
One God, one law, one element, 
And one far-off divine event, 

To which the whole creation moves. 


L. M. 

MY dear Redeemer and my Lord, 
I read my duty in thy word ; 
But in thy life the law appears, 
Drawn out in living characters. 

2 Such was thy truth, and such thy zeal, 
Such deference to thy Father's will, 
Such love and meekness so divine, 

I would transcribe and make them mine. 

3 Cold mountains and the midnight air 
Witnessed the fervor of thy prayer ; 
The desert thy temptations knew, 
Thy conflict and thy victory too. 

4 Be thou my pattern ; make me bear 
More of thy gracious image here ; 
Then God, the Judge, shall own my name 
Among the followers of the Lamb. 

Isaac Watts. 

'•The Example of Christ" is the author's 
title to this hymn in his Hymns and Spir- 
itual Songs, 1707. It is one of the best 
hymns ever written on the life and ex- 
ample of our Lord. It is based on Ephe- 
sians v. 1: "Be ye therefore imitators of 
God as dear children." 

The process of studying the pattern, of 
transcribing the virtues, and of repro- 
ducing in one's self the image of the Lord 
Jesus is here portrayed in poetry which is 
at once simple, serviceable, and inspiring 
to every disciple who seeks daily to fol- 
low the footsteps and example of his Lord. 


L. M. 

WHEN I survey the wondrous cross 
On which the Prince of glory died, 
My richest gain I count but loss, 
And pour contempt on all my pride. 

2 Forbid it, Lord, that I should boast, 

Save in the death of Christ, my God ; 
All the vain things that charm me most, 
I sacrifice them to his blood. 

3 See, from his head, his hands, his feet, 

Sorrow and love flow mingled down ! 
Did e'er such love and sorrow meet, 
Or thorns compose so rich a crown? 

4 Were the whole realm of nature mine, 

That were a present far too small ; 
Love so amazing, so divine, 

Demands my soul, my life, my all. 

Isaac Watts. 

The author's title was: "Crucifixion to 



the World by the Cross of Christ." The 
text is Galatians vi. 14: "But God forbid 
that I should glory, save in the cross of 
our Lord Jesus Christ, by whom the world 
is crucified unto me, and I unto the 

One stanza, the fourth, is omitted: 

His dying crimson like a robe 
Spread o'er his body on the tree, 

Then I am dead to all the globe, 
And all the globe is dead to me. 

Dr. Breed, in his History and Use of 
Hymns and Hymn Tunes, seriously claims 
that this hymn outranks all others — "the 
finest hymn in the English language." It 
is confessedly a great hymn, yet few 
hymnologists will place it ahead of all 
others. In the list of Best Church Hymns 
it is number tico. but in Anglican Hymnol- 
ogy it is number ten, and in Hymns that 
Have Helped number fourteen. In my 
opinion, Dr. Watts exceeded this himself 
in more than one instance. See in this 
book the hymn beginning, "Great God, at- 
tend while Zion sings," No. 214; also No. 
577, "0 God, our help in ages past." 

It is taken unaltered from Hymns and 
Spiritual Songs, Book III., 1709. It is also 
found in the first edition of Dr. Watts's 
Hymns and Spiritual Songs, 1707, where 
it begins in this manner: 

When I survey the "Wondrous Cross 
'Where the young Prince of Glory dy'd. 

It was changed by the author for his sec- 
ond edition, 1709. 

Rev. Duncan Campbell, of Edinburgh, 
says : 

For tender, solemn beauty, for a reverent 
setting forth of what the inner vision dis- 
cerns as it looks upon the Crucified, I know 
of no verse in our hymnology equal to the 
stanza beginning: 

"See, from his head, his hands, his feet, 
Sorrow and love flow mingled down !" 

There may have been singers with a finer 
sense of melody — Watts's metrical and mu- 
sical range was limited ; he had only six 
meters — but not the most tuneful of our sa- 

cred po< is has given us lines more exquisite 
than these. 

Among those who counted this "the 
greatest hymn in the English language" 
we may also name Matthew Arnold, the 
eminent English author and literary crit- 
ic — and he was especially severe in his 
criticism of many Church hymns. It so 
chanced that the very day he died he 
I heard this hymn sung in Sefton Park 
Presbyterian Church, Liverpool, of which 
Dr. John Watson ("Ian Maclaren") was 
i pastor. As he went to luncheon after the 
j close of the service, in the home of his 
| brother-in-law, he was heard to repeat to 
himself softly again and again the opening 
j lines of the hymn; and it was only ten 
minutes before he died that he declared it 
' was the greatest of all the English hymns. 
That one who had defined God as "the 
| Eternal Somewhat that makes for right- 
( eousness — from whom Jesus came " should 
regard this deeply evangelical hymn on 
the atonement as the greatest of all 
hymns, and should not only sing publicly 
but repeat to himself privately words like 

Forbid it, Lord, that I should boast, 
Save in the death of Christ, my God, 

All the vain things that charm me most 
I sacrifice them to his blood, 

makes it possible for us to hope that this 
eminent poet and man of letters admired 
and loved this hymn not for its literary 
qualities alone. The critic's head-creed 
may have been defined in his "Literature 
and Dogma," while his heart hungered for 
a creed embodied in a hymn like this, and 
found joy in singing: 

Love so amazing, so divine, 

Demands my soul, my life, my all. 

This incident recalls John Wesley's ear- 
nest plea that hymns should have not 
only religious and devotional value, but 
also high literary merit, "such as would 
sooner provoke a critic to turn Christian 
than a Christian to turn critic." 



142 C. M. 

BEHOLD the Saviour of mankind 
Nailed to the shameful tree ! 
How vast the love that him inclined 
To bleed and die for thee ! 

2 Hark, how he groans ! while nature shakes, 

And earth's strong pillars bend ! 
The temple's veil in sunder breaks, 
The solid marbles rend. 

3 'Tis done ! the precious ransom's paid ! 

"Receive my soul !" he cries ; 
See where he bows his sacred head ! 
He bows his head, and dies! 

4 But soon he'll break death's envious chain, 

And in full glory shine : 
O Lamb of God, was ever pain. 
Was ever love, like thine? 

Samuel Wesley, Sr. 

We are fortunate in having our hymn 
book to contain at least one hymn by the 
father of John and Charles Wesley. This 
hymn is eminently worthy of a place 
among the hymns of the two brothers, 
with both of whom it was a great favorite. 
John Wesley gave it an honored place in 
his first collection of Psalms and Hymns, 
which was published in 1737 at Charles- 
ton, S. C, where it bears the title, ''On 
the Crucifixion." The brothers continued 
to publish it in subsequent editions of 
their hymns. 

There is good reason for thinking that 
this hymn was written in 1709, just before 
— perhaps the very day before — the mem- 
orable fire that consumed the Epworth 
Rectory, and from which John, then a 
very small boy, was with much difficulty 
rescued — one man standing on the shoul- 
ders of another and thus reaching up and 
lifting him out of the window of the burn- 
ing building, in the second story of which 
he had been accidentally left. Immediate- 
ly after the fire the manuscript of this 
hymn was found by the author in the gar- 
den, scorched and partly burned by the 
flames. The wind, it seems, blew it out 
of the window while the fire was raging. 

"The internal structure of the hymn," 
says Stevenson, "shows how fully the writ- 
er appeared to realize the infinite impor- 

tance of the event he so touchingly and 
effectively describes." John and Charles 
Wesley made frequent use of this hymn 
in their evangelistic services. On July 
18, 1738, Charles Wesley and Mr. Bray 
were locked in a cell at Newgate prison 
with some condemned criminals who were 
to be executed the next day. After pray- 
ing and talking with these men who sat 
in the very shadow of death, Charles 
Wesley sang this hymn. This is the en- 
try he makes in his Journal of that serv- 
ice: "It was one of the most triumphant 
hours I have ever known." The penitents 
were brought to know Him in saving- 
faith who had himself died between two 
condemned criminals and were thus made 
ready to face death and the issues of eter- 

Two inferior stanzas have been omitted 
here, as they were also when published by 
John and Charles Wesley: 

2 Though far unequal our low praise 
To thy vast sufferings prove, 
£) Lamb of God, thus all our days, 
Thus will we grieve and love. 
6 Thy loss our ruins did repair ; 
Death by thy death is slain ; 
Thou wilt at length exalt us where 
Thou dost in glory reign. 


8s, 7s. 

IN the cross of Christ I glory, 
Towering o'er the wrecks of time ; 
All the light of sacred story 

Gathers round its head sublime. 

2 When the woes of life o'ertake me, 

Hopes deceive, and fears annoy, 

Never shall the cross forsake me ; 

Lo ! it glows with peace and joy. 

3 When the sun of bliss is beaming 

Light and love upon my way, 
From the cross the radiance streaming 
Adds more luster to the day. 

4 Bane and blessing, pain and pleasure, 

By the cross are sanctified ; 
Peace is there, that knows no measure, 
Joys that through all time abide. 

5 In the cross of Christ I glory, 

Towering o'er the wrecks of time ; 
All the light of sacred story 

Gathers round its head sublime. 

John Bowring. 



Title: "The Cross of Christ." This 
grand hymn — unaltered and entire — is 
from the author's Hymns, London, 1825. 
In his preface he says: 

This little book is intended as a sequel to 
the Matins and Vespers. It has no preten- 
sions to supply the place of similar produc- 
tions. If it be allowed to add anything to the 
treasures of our devotional poetry, if any of 
its pages should be hereafter blended with 
the exercises of domestic and social worship, 
or if it shall be the companion of meditative 
solitude, the writer will be more than reward- 

Many literary and diplomatic honors 
justly came to this author, but the crown- 
ing honor of his life was that he wrote: 
"In the cross of Christ I glory." Its in- 
spiration is found, of course, in Galatians 
vi. 14: "God forbid that I should glory, 
save in the cross of our Lord Jesus Christ, 
by whom the world is crucified unto me, 
and I unto the w r orld." It is strange that 
a hymn on the cross of Christ, so noble 
and evangelical in sentiment and spirit, 
should have been written by a Unitarian. 
But although Sir John Bowring was nom- 
inally and theoretically a Unitarian, "prac- 
tically," says a Christian biographer, "he 
was a devoted and evangelical believer, 
and died in peace and hope." On the 
tombstone that marks his resting place is 
inscribed his favorite sentiment: "In the 
cross of Christ I glory.'' 


NEVER further than thy cross, 
Never higher than thy feet ; 
Here earth's precious things seem dross, 
Here earth's bitter things grow sweet. 

2 Gazing thus, our sin we see ; 

Learn thy love while gazing thus ; 
Sin which laid the cross on thee, 
Love which bore the cross for us. 

3 Here we learn to serve and give, 

And, rejoicing, self deny ; 
Here we gather love to live, 
Here we gather faith to die. 

4 Pressing onward as we can, 

Still to this our hearts must tend ; 
"Where our earliest hopes began, 
There our last aspirings end ; 

o Till, amid the hosts of light, 

We in thee redeemed, complete, 
Through thy cross made pure and white, 
Cast our crowns before thy feet. 

Elizabeth R. Charles. 

This hymn, so "full of spiritual insight," 
was first published in the Family Treas- 
ury for February, 1860. It is also found 
in a volume of the author's Poems, pub- 
lished in New York in 1867. Mrs. Charles 
is widely known as the author of The 
Voice of Christian Life in Song, 1858, and 
The Chronicles of the Schonberg-Cotta 
Family and other popular studies in his- 

The fourth stanza of the original, omit- 
ted above, is: 

Symbols of our liberty 

And our service here unite, 

Captives by Thy Cross set free, 
Soldiers of Thy Cross we fight. 

The thought that Christians have a liv- 
ing and not a dead Christ has perhaps nev- 
er been more beautifully expressed in po- 
etry than in Mrs. Charles's communion 
hymn, which tells of how and why Chris- 
tians have their memorial meeting around 
a table and not a tomb. It is worth quot- 
ing in full: 

Around a table, not a tomb, 

He willed our gathering place to be, 
When, going to prepare our home, 

Our Saviour said, "Remember me." 
We kneel around no sculptured stone, 

Marking the place where Jesus lay ; 
Empty the tomb, the angels gone, 

The stone forever rolled away. 

Nay ! sculptured stones are for the dead I 

Thy three dark days of death are o'er ; 
Thou art the Life, our living Head, 

Our living Light for evermore ; 
Of no fond relics, sadly dear, 

O Master, are thine own possest : — 
The crown of thorns, the cross, the spear, 

The purple robe, the seamless vest. 
Nay ! relics are for those who mourn 

The memory of an absent friend ; 
Not absent Thou, nor we forlorn ! 

"Lo, with you alway, to the end !" 
Thus round thy table, not thy tomb, 

We keep thy sacred feast with thee ; 
Until, within the Father's home, 

Our endless gathering place shall be. 



And Mrs. Charles's lines, describing the 
love that shares and serves, are so beauti- 
ful and so full of large sympathy that 
Bishop Bickersteth and W. G. Horder both 
gave them a place among the Christian 
hymns which they edited: 

Is thy cruse of comfort wasting? 

Rise and share it with another, 
And through all the years of famine 

It shall serve thee and thy brother. 
Love divine will rill thy storehouse, 

Or thy handful still renew ; 
Scanty fare for one will often 

Make a royal feast for two. 

For the heart grows rich in giving ; 

All its wealth is living grain ; 
Seeds which mildew in the garner, 

Scattered, fill with gold the plain. 
And the heart grows strong by serving ; 

Self-entwined its strength sinks low ; 
It can only live in loving, 

And by serving love will grow. 


L. M. 

LORD Jesus, when we stand afar 
A.nd gaze upon thy holy cross, 
In love of thee and scorn of self, 
O may we count the world as loss ! 

2 When we behold thy bleeding wounds, 

And the rough way that thou hast trod, 
Make us to hate the load of sin 
That lay so heavy on our God. 

3 O holy Lord ! uplifted high 

With outstretched arms, in mortal woe, 
Embracing in thy wondrous love 
The sinful world that lies below ! 

4 Give us an ever-living faith 

To gaze beyond the things we see ; 
And in the mystery of thy death 
Draw us and all men after thee ! 

William W. How. 

Published without title in Psalms and 
Hymns, London, 1854. Slight changes 
have been made in two lines. The third 
stanza is especially fine. The use of this 
hymn can hardly fail to cultivate the spir- 
it of worship. 

146 C. M. 

ALAS ! and did my Saviour bleed? 
And did my Sovereign die? 
Would he devote that sacred head 
For such a worm as I? 

2 Was it for crimes that I have done 

He groaned upon the tree? 
Amazing pity ! grace unknown ! 
And love beyond degree ! 

3 Well might the sun in darkness hide, 

And shut his glories in, 
When Christ, the mighty Maker, died 
For man the creature's sin. 

4 Thus might I hide my blushing face 

While his dear cross appears ; 
Dissolve my heart in thankfulness, 
And melt mine eyes to tears. 

5 But drops of grief can ne'er repay 

The debt of love I owe : 
Here, Lord, I give myself away — 
'Tis all that I can do. 

Isaac Watts. 

"Godly Sorrow Arising from the Suffer- 
ings of Christ"' is the title of this most 
useful and popular hymn in the author's 
Hymns and Spiritual Songs, 1707. The 
second stanza of the original is omitted 
above : 

Thy body slain, sweet Jesus, thine, 
And bathed in its own blood, 

While all exposed to wrath divine, 
The glorious sufferer s ood ! 

"It is likely," says Dr. C. S. Robinson, 
"that more conversions have been credit- 
ed, in the wide round of Christian biog- 
raphy, to this hymn than to any other 
in the English language." Dr. Watts was 
sometimes charged with being a Socinian 
in his doctrine of the person of Christ. If 
that were true, it is difficult to see how he 
could ever have written the language con- 
tained in verse three. He wrote, "When 
God, the mighty Maker, died," instead of 
"When Christ, the mighty Maker, died," 
as found above. 

Bishop Candler, in his High Living and 
High Lives, makes the following refer- 
ence to the influence of this hymn upon 
the late Governor A. H. Colquitt, one of 
the most useful and influential Methodist 
laymen of the State of Georgia: 

Just before he arose to address the meet- 
ing the choir sang one of the sweetest hymns 
of Watts's. It seemed to fill him with holy 
rapture. When he rose to speak, his hand- 
some face shone with supernatural brightness, 



his lustrous eyes were filled with tears, and 
his utterance was choked with emotion as he 
said impulsively: "O how I love that song! 
It was my mother's song. And to-day, if I 
could hear her sing it again, I should have 
greater joy than if I heard all the choirs of 
heaven. 'Alas! and did my Saviour bleed?' — 
that was the song they sang. Because his 
Saviour bled and died that men might live, 
this noble man has found at last the eternal 
home and the 'vanished hand' for which he 

Fanny Crosby tells in her autobiog- 
raphy how this hymn was graciously used 
and blessed to her conversion. It was in 
November, 1850, at the old Thirtieth 
Street Church, New York City. A revival 
was in progress, and she had been to the 
altar several times seeking light and 
peace, only to come away unsatisfied. But 
presently the light came. It was on this 
wise, as she describes it: "After a prayer 
was offered, they began to sing the grand 
old consecration hymn, 'Alas! and did my 
Saviour bleed?' and when they reached 
the third line of the fifth stanza, 'Here, 
Lord, I give myself away,' my very soul 
flooded with celestial light." And what 
"visions of rapture" this blind poet has 
been seeing ever since! (See note under 
No. 548.) 

147 L- M. 

''TIS midnight; and on Olive's brow 
i- The star is dimmed that lately shone : 
'Tis midnight ; in the garden now, 
The suffering Saviour prays alone. 

2 'Tis midnight : and from all removed, 

The Saviour wrestles lone with fears ; 
E'en that disciple whom he loved 

Heeds not his Master's grief and tears. 

3 'Tis midnight : and for others' guilt 

The Man of sorrows weeps in blood ; 
Yet he that hath in anguish knelt 
Is not forsaken by his God. 

4 'Tis midnight ; and from ether-plains 

Is borne the song that angels know ; 
Unheard by mortals are the strains 

That sweetly soothe the Saviour's woe. 
William B. Tappan. 
Author's title: "Gethsemane." It is 
from his Poems, published in Philadel- 
phia, 1822. In the third line of the second 

stanza the author wrote: "E'en the disci- 
ple that he loved." This "midnight" hymn 
is widely used, most frequently, perhaps, 
at communion services. It is unspeak- 
ably sad, yet we remember that midnight 
was followed by a glorious morning. 

148 L- Bl 

JESUS, thy blood and righteousness 
My beauty arc, my glorious dress; 
'Midst flaming worlds, in these arrayed, 
With joy shall I lift up my head. 

2 Bold shall I stand in thy great day, 
For who aught to my charge shall lay? 
Fully absolved through these I am, 
From sin and fear, from guilt and shame. 

3 The holy, meek, unspotted Lamb, 
Who from the Father's bosom came, 
Who died for me, e'en me t' atone, 
Now for my Lord and God I own. 

4 Lord, I believe thy precious blood, 
Which, at the mercy seat of God, 
Forever doth for sinners plead, 
For me, e'en for my soul, was shed. 

5 Lord, I believe were sinners more 
Than sands upon the ocean shore, 
Thou hast for all a ransom paid, 
For all a full atonement made. 

Xicolaus L. Zinzendorf. 

Tr. by John Wesley. 
"The Believer's Triumph" is the title 
of this hymn in Wesley's Hymns and Sa- 
cred Poems, 1740, where it has twenty-four 
stanzas. We have above the first, second, 
sixth, seventh, and eighth stanzas. In the 
third line of the second stanza the author 
wrote: "Fully through these absolved I 
am." In the first line of the third stanza 
he wrote: "The holy, the unspotted 
Lamb." Instead of the last two lines of 
the fifth stanza given above he wrote: 

For all thou hast the ransom given, 
Purchased for all peace, life, and heaver.. 

These alterations and improvements 
were made by Wesley himself for the col- 
lection which he prepared in 1779 and pub- 
lished in 1780. 

The German original, beginning "Christi 
Bhit und Gerechtigkcit." was written in 
1739 by Zinzendorf during his voyage 
from St. Thomas, in ihe West Indies, and 



was published in an appendix to the 
Herrnhut Collection, that same year. It is 
in thirty-three stanzas, four lines each; 
Wesley's translation therefore omits nine 

This is regarded by many as the finest 
of all Wesley's translations from the Ger- 
man. The language of the first stanza has 
been criticized by some as favoring im- 
puted righteousness, but this criticism is 
unwarranted — at least so far as the faith 
of John Wesley is concerned. It is per- 
haps impossible to frame in poetry a more 
satisfactory statement of the Methodist 
doctrine of atonement than that found in 
the fourth and fifth stanzas of this hymn. 
If the Christian doctrine of the atonement, 
unlimited in its power both intensively 
and extensively, is recognized as the great- 
est and most vital of all doctrines, then 
this hymn, which gives such splendid ex- 
pression to this fundamental doctrine of 
the Christian faith, is entitled to be 
classed as one of the greatest hymns ever 

149 L- m. 

fTIS finished !*' so the Saviour cried, 

1 And meekly bowed his head and died : 
'Tis finished ! yes, the race is run, 

The battle fought, the victory won. 

2 'Tis finished ! all that heaven foretold 
By prophets in the days of old ; 

And truths are opened to our view, 
That kings and prophets never knew. 

3 'Tis finished ! Son of God, thy power 
Hath triumphed in this awful hour ; 
And yet our eyes with sorrow see 
That life to us was death to thee. 

4 'Tis finished ! let the joyful sound 

Be heard through all the nations round ; 
'Tis finished ! let the triumph rise 
And swell the chorus of the skies ! 

Samuel Stennett. Alt. 

Text: "It is finished." (John xix. 30.) 
A hymn of six stanzas beginning the 
same as this was published in Rippon's 
Selection, first edition, 1787. It has been 
abbreviated, rewritten, and improved by 
some one unknown to us. As it stands, 
Stennett wrote less than half the hymn. 


L. M. 


IDE on, ride on in majesty ! 
Hark ! all the tribes Hosanna cry ; 
O Saviour meek, pursue thy road 
With palms and scattered garments strowed. 

2 Ride on, ride on in majesty ! 
In lowly pomp ride on to die : 

O Christ, thy triumphs now begin 
O'er captive death and conquered sin. 

3 Ride on, ride on in majesty ! 
The winged squadrons of the sky 

Look down with sad and wond'ring eyes 
To see the approaching sacrifice. 

4 Ride on, ride on in majesty ! 

Thy last and fiercest strife is nigh ; 
The Father, on his sapphire throne, 
Expects his own anointed Son. 

5 Ride on, ride on in majesty ! 
In lowly pomp ride on to die ; 
Bow thy meek head to mortal pain, 
Then take, O God, thy power, and reign. 

Henry H. Milman. 

This hymn, the most popular in the 
English language for Palm Sunday, was 
first published in Bishop Heber's post- 
humous volume of Hymns, 1827, and ten 
years later in the author's Selection of 
Psalms and Hymns, 1837. The third line 
of the first stanza reads in the original, 
"Thine humble beast pursues its road," 
and was changed by Murray for his Hym- 
nal, published in 1852, to the language 
found in the text. A great divine and 
Church historian is here found to be a 
great hymn-writer. There are very few, 
if any, more imposing and stirring hymns 
in the English language than this majes- 
tic and stately song. Its interpretation of 
the significance of the triumphal entry is 
as profound as the description is vivid. 
The humility and majesty of the Son of 
Man that met "in lowly pomp" on this 
eventful day have never been so worthily 
sung before. 


7s, 6s. D. 

SACRED Head, now wounded, 
With grief and shame weighed down, 
Now scornfully surrounded 

With thorns, thine only crown ; 



O sacred Head, what glory, 

What bliss, till now was thine ! 

Yet, though despised and gory, 
I joy to call thee mine. 

- What language shall I borrow 

To thank thee, dearest Friend, 
For this, thy dying sorrow, 

Thy pity without end? 
O make me thine forever ; 

And should I fainting be, 
Lord, let me never, never, 

Outlive my love to thee. 

3 Be near me when I'm dying, 
O show thy cross to me ; 
And, for my succor flying, 

Come, Lord, and set me free : 
These ej'es, new faith receiving, 

From Jesus shall not move ; 
For he who dies believing, 

Dies safely, through thy love. 
Bernard of Clairvaux, Paul Gerhardt. 

Tr. by J. W. Alexander. 

This grand and pathetic hymn comes 
from the Latin of St. Bernard: "Salve, 
caput cruentatum." The translation from 
the German appeared in the Christian 
Lyre, edited by Joshua Leavitt, New York. 
1830. Dr. Philip Schaff gives it in his 
Christ in Song, and in the preface to the 
hymn says: "This classical hymn has 
shown an imperishable vitality in passing 
from the Latin into the German and from 
the German into the English and pro- 
claiming in three tongues and in the 
name of three confessions — the Catholic, 
the Lutheran, and the Reformed — with 
equal effect, the dying love of our Sav- 
iour and our boundless indebtedness to 


L. M. 

COME and mourn with me awhile 
O come ye to the Saviour's side ; 
O come, together let us mourn ; 
Jesus, our Lord, is crucified. 

2 Have we no tears to shed for him, 

While soldiers scoff and Jews deride? 
Ah ! look how patiently he hangs; 
Jesus, our Lord, is crucified. 

3 Seven times he spoke, seven words of love 

And all three hours his silence cried 
For mercy on the souls of men ; 
Jesus, our Lord, is crucified. 

4 O love of God, O sin of man, 

In this dread act your strength is tried; 
And victory remains with love, 
For thou, our Lord, art crucified ! 

Frederick W. Faber. 

"Jesus Crucified" is the author's title to 
this hymn, which was first published in 
his Jesus and Mary, 1849, and again, with 
some revisions, in his Hymns, 1862. The 
original has twelve stanzas, and the re- 
frain at the end of each stanza there 
reads: "Jesus, our Love, is crucified." In 
John Mason's Spiritual Songs, 1G83, is a 
song beginning: "My Lord, my Love, was 
crucified." This is used by Charles Wes- 
ley as the refrain for closing each stanza 
in his hymn beginning: "0 Love divine, 
what hast thou done?" 


L. M. 61. 

LOVE divine, what hast thou done ! 

The incarnate God hath died for me ! 
The Father's coeternal Son 

Bore all my sins upon the tree ! 
The Son of God for me hath died : 
My Lord, my Love, is crucified. 

2 Behold him, all ye that pass by, 

The bleeding Prince of life and peace ! 
Come, sinners, see your Saviour die, 

And say, was ever grief like his? 
Come, feel with me his blood applied : 
My Lord, my Love, is crucified : 

3 Is crucified for me and you, 

To bring us rebels back to God : 
Believe, believe the record true, 

Ye all are bought with Jesus' blood : 
Pardon for all flows from his side : 
My Lord, my Love, is crucified. 

4 Then let us sit beneath his cross, 

And cladly catch the healing stream; 
All things for him account but loss, 

And give up all our hearts to him : 
Of nothing think or speak beside : 
My Lord, my Love, is crucified. 

Charles Wesley. 

Title: "Desiring to Love." It is from 
Hymns and Sacred Poems, published by 
John and Charles Wesley, 1742. Some 
verbal changes have been made. The 
original has "immortal" instead of "incar- 
nate" in the second line, and the same 
word instead of "Son of" in the fifth line. 



The third line of the second stanza reads: 
"Come, see, ye worms, your Maker die." 
In the second line of the third verse Wes- 
ley wrote: "To bring us rebels near to 
God." The fourth line he began with 
"We" instead of "Ye." These changes are 
all improvements except perhaps the last. 
The burden of this sweet and pathetic 
hymn, "My Lord, my Love, is crucified," 
is said to be a quotation from Ignatius the 
martyr: "Amor mens crucifixus est." Rev. 
John Mason used it long before Wesley's 
time, 1683, and F. W. Faber used it after 
him. (See Hymn No. 152.) 


7. D. 


EAR the cross was Mary weeping - , 
There her mournful station keeping, 

Gazing on her dying Son ; 
There in speechless anguish groaning, 
Yearning, trembling, sighing, moaning, 

Through her soul the sword had gone. 

2 When no eye its pity gave us, 
When there was no arm to save us, 

He his love and power displayed ; 
By his stripes he wrought our healing, 
By his death, our life revealing, 

He for us the ransom paid. 

3 Jesus, may thy love constrain us, 
That from sin we may refrain us, 

In thy griefs may deeply grieve ; 
Thee our best affections giving, 
To thy glory ever living, 

May we in thy glory live ! 
Jacopone da Todi. Tr. by Henry Mills. 

This is a translation of the celebrated 
Latin hymn, the "Stabat Mater" of Jaco- 
pone, a Franciscan monk. It is, next to 
the "Dies Irw" of Thomas of Celano, the 
most noted and historic of all the Latin 
hymns. The original has ten stanzas, 
many of which contain idolatrous allu- 
sions and addresses to the Virgin Mary, 
from all of which, however, the above 
hymn, taken from the translation of Dr. 
Mills, is free. This hymn has been trans- 
lated into nearly all the languages of mod- 
ern Europe and by many different persons 
into the English language. Many noted 
musicians have composed accompaniments 
for it. It is this hymn which has inspired 

the several famous paintings of the mas- 
ters titled Mater Dolorosa. We give here 
the first verse of the original: 

Stabat mater dolorosa 
Juxta crucem lachrymosa, 

Qua pendebat Alius ; 
Cujus animam gementem, 
Contristantem et dolentem, 

Pertransivit gladius. 

The keynote of the hymn is struck in 
the two first lines, which are taken almcst 
literally from the Gospel of John, Latin 
version: "Stabat juxta crucem mater 
ejus." It was perhaps in the grief which 
the mother suffered while thus gazing 
upon her dying Son that were fulfilled the 
words of Simeon: "A sword shall pass 
through thine own soul also." The vari- 
ous passages of Scripture on which the 
hymn is based are: John xix. 25; Luke 
ii. 35; Zechariah xiii. 6; 2 Corinthians iv. 
10; Galatians vi. 17. 

The authorship of this hymn is by no 
means certain. It is generally attributed 
to Jacopone da Todi (also called Benedet- 
to and Jacobus de Benedictis), an eccen- 
tric Franciscan monk, who was either er- 
ratic to the point of insanity or else 
feigned folly and "played the fool for 
Christ's cake," thinking thereby to make 
his messages and rebukes more impress- 
ive. We see no sufficient reason for deny- 
ing Jacopone's claim to the hymn, al- 
though Julian in his Dictionary of Hym- 
nology. while recognizing the great uncer- 
tainty of the authorship of the hymn, casts 
his judgment in favor of Pope Innocent 
III. (1161-1216) as the most probable au- 
thor. Jacopone died in 1306. The hymn 
dates from the thirteenth century. The 
Flagellants, an eccentric religious order, 
brought the hymn into general notice in 
the fourteenth century by singing it as 
they journeyed from town to town. It 
is perhaps the most popular of all the Lat- 
in hymns in the Roman Catholic Church, 
where it is sung every Friday during Lent. 
The literature that has been called forth 
by the hymn is very extensive. The mu- 



sic that has been composed for it by Pa- 
lestrina, Pergolesi, Haydn, Rossini, Dvo- 
rak, and other great masters holds a place 
in the very front rank of the sacred mu- 
sical compositions of the world. 

The passionate and ceaseless desire of 
the pious but erratic child of genius to 
whom, according to the common judg- 
ment, we owe this remarkable hymn was 
to imitate Christ and suffer for him. On 
one occasion he was found weeping loudly, 
and on being asked the cause of his grief 
he replied: "Because Love is not loved." 
One of the finest renderings of the entire 
hymn into our language is that of Dr. 
Abraham Coles. The passionate tender- 
ness and undying influence of this hymn 
are well exhibited in the following stanza 
taken from the translation of Coles: 

Who the man who, called a brother, 
Would not weep saw he Christ's mother 

In such deep distress and wild? 
Who could not sad tribute render, 
Witnessing that mother tender 

Agonizing with her child? 

The translation of Dr. Mills, found in 
the text above, was published in the Ap- 
pendix of his Horce Germanicce, 1845, 
where it has seven stanzas, the above be- 
ing the first, sixth, and seventh stanzas. 
This translation was long accredited to 
Dr. J. W. Alexander, due to the fact that 
in 18G1, two years after his death, his 
translations were collected and published 
in a volume titled The Breaking Crucible 
and Other Translations, and this hymn 
was, by mistake of the editor of that vol- 
ume, included among Dr. Alexander's 
translations. Two of the tour omitted 
stanzas are found in many of the Church 

What he for his people suffered, 
Stripes, and scoffs, and insults offered, 

His fond mother saw the whole : 
Never from the scene retiring, 
Till he bowed his head expiring, 

And to God breathed out his soul. 
But we have no need to borrow 
Motives from the mother's sorrow, 

At our Saviour's cross to mourn : 

'Twas our sins brought him from heavi n ; 
These the cruel nails had driven : 
All his griefs for us were borne. 


S. M. 

PERFECT life of love ! 
All, all is finished now ; 
All that He left his throne above 
To do for us below. 

2 No work is left undone 

Of all the Father willed ; 
His toils, his sorrows, one by one, 
The Scripture have fulfilled. 

3 No pain that we can share 

But he has felt its smart ; 
All forms of human grief and care 
Have pierced that tender heart. 

4 And on his thorn-crpwned head, 

And on his sinless soul, 
Our sins in all their guilt were laid 
That he might make us whole. 

5 In perfect love he dies ; 

For me he dies, for me : 
O all-atoning Sacrifice. 
I cling by faith to thee. 

6 In every time of need, 

Before the judgment throne, 
Thy work, O Lamb of God, I'll plead, 
Thy merits, not my own. 

7 Yet work, O Lord, in me, 

As thou for me hast wrought ; 
And let my love the answer be 
To grace thy love has brought. 

Henry W. Baker. 

Scripture text: "It is finished." Unal- 
tered and complete as contributed to 
Hymns Ancient and Modern, 1875, the last 
edition of which (1909) omits verse seven. 
This hymn is valuable for its concise state- 
ment of the orthodox views of the atone- 
ment. The Historical Edition of Hymns 
Ancient and Modern, 1909, contains the 
following note under this hymn: 

The tune "Aber" was written by William 
H. Monk for this hymn in the revised edi- 
tion. The author wrote the hymn at Monk's 
house, where it was the subject of much dis- 
cussion in the evening. The tune was con- 
ceived by the composer in his sleep the same 
night; h? awoke and wrote it down at once, 
and sang it to the author the next morning. 



156 7s. 

CHRIST the Lord is risen to-day, 
Sons of men and angels say : 
Raise your joys and triumphs high, 
Sing, ye heavens, and earth reply. 

2 Love's redeeming work is done ; 
Fought the fight, the battle won : 
Lo ! the sun's eclipse is o'er ; 

Lo ! he sets in blood no more. 

3 Vain the stone, the watch, the seal, 
Christ hath burst the gates of hell : 
Death in vain forbids his rise ; 
Christ hath opened paradise. 

4 Lives again our glorious King ; 
Where, O death, is now thy sting? 
Once he died our souls to save ; 
Where's thy victory, boasting grave? 

5 Soar we now where Christ has led, 
Follow our exalted Head ; 

Made like him, like him we rise ; 
Ours the cross, the grave, the skies ! 

Charles Wesley. 

These are the first five of eleven stanzas 
belonging to the author's "Hymn for Eas- 
ter Day," published in Hymns and Sa- 
cred Poems, 1739. The original of the last 
two lines of the fourth verse is: 

Dying once he all doth save : 
Where thy victory, O grave? 

In an "Easter Hymn" by Samuel Wes- 
iey, Jr., is a stanza which probably sug- 
gested to Charles Wesley some of the lan- 
guage used in the third stanza above: 

In vain the stone, the watch, the seal, 

Forbid an early rise 
To him who breaks the gates of hell. 

And opens parad:se. 

This is not only one of Charles Wes- 
ley's finest hymns, but it is one of the 
most admired and frequently sung of all 
our Easter hymns. "This hymn," says the 
author of Hymns that Have Helped, "has 
long been accepted as the best English 
Easter hymn. Yet it is curious to note 
that John Wesley dropped it out of the 
Wesleyan Hymn Book in 1780, and it did 
not regain its place there till 1830." 


S. M. 

THE Lord is risen indeed ; 
The grave hath lost its prey ; 
With him shall rise the ransomed seed, 
To reign in endless day. 

2 The Lord is risen indeed ; 

He lives, to die no more ; 
He lives, the sinner's cause to plead, 
Whose curse and shame he bore. 

3 The Lord is risen indeed; 

Attending angels, hear ! 
Up to the courts of heaven, with speed, 
The joyful tidings bear: 

4 Then wake your golden lyres, 

And strike each cheerful chord ; 
Join, all ye bright celestial choirs, 
To sing our risen Lord. 

Thomas Kelly. 
Text: "The Lord is risen indeed." 
(Luke xxiv. 34.) 

The original contains eight stanzas. 
This hymn is made up of verses four, five, 
seven, and eight. 

The second line in the first verse was 
originally: "Then Hell has lost its prey." 
The rest is verbatim from Hymns on Vari- 
ous Passages of Scripture, first edition, 

158 L- M. D. 

OUR Lord is risen from the dead ; 
Our Jesus is gone up on high ; 
The powers of hell are captive led, 

Dragged to the portals of the sky: 
There his triumphal chariot waits, 

And angels chant the solemn lay : 
"Lift up your heads, ye heavenly gates ; 
Ye everlasting doors, give way !" 

2 "Loose all your bars of massy light, 

And wide unfold th' ethereal scene ; 
He claims these mansions as his right ; 

Receive the King of Glory in !" 
"Who is the King of Glory? Who?" 

"The Lord, that all our foes o'ercame ; 
The world, sin, death, and hell o'erthrew ; 

And Jesus is the Conqueror's name." 

3 Lo, his triumphal chariot waits, 

And angels chant the solemn lay : 
"Lift up your heads, ye heavenly gates : 

Ye everlasting doors, give way!" 
"Who is the King of Glory? Who?" 

"The Lord, of glorious power possessed ; 
The King of saints and angels too ; 

God over all, forever blest !" 

Charles Wesley. 



From Psalms and Hymns, 1743. Based 
on Psalm xxiv. 7-10: "Lift up your heads, 
O ye gates; and be ye lifted up, ye ever- 
lasting doors; and the King of glory shall 
come in. Who is this King of glory? The 
Lord strong and mighty, the Lord mighty 
in battle. Lift up your heads, O ye gates; 
even lift them up, ye everlasting doors, 
and the King of glory shall come in. Who 
is this King of glory? The Lord % of hosts, 
he is the King of glory." 

These are the last six of thirteen stan- 
zas of four lines each, in which the author 
gives a metrical version of the entire 
Psalm. It is regarded as one of Charles 
Wesley's most successful and spiritual 

In the introduction to a volume titled 
Charles Wesley's Version of the Psalms, 
London, 1854, Henry Fish, the editor, 

Though Charles Wesley has not always 
confined himself to the letter of the Psalms 
which he versified, yet in every case he has 
embodied the spirit, and in. many of them he 
has kept close to the sense, of the original. 
Having found the Saviour everywhere in the 
Psalms, he introduces the Saviour every- 
where in his version, and has presented him 
and all the great truths of experimental and 
practical religion to our attention in the most 
pleasing, soul-stirring, soul-inspiring verse. 
With a heart of love and lips of fire, he has 
sung the complaints and the afflictions and 
the penitential supplications and the triumphs 
and thanksgivings of David. He has sung in 
his own style — a style characterized by 
smoothness and harmony, by pathos and pow- 
er and beauty, and occasionally by sublimi- 
ty and grandeur. 

There is nothing in the form of poetry 
within the whole compass of uninspired lan- 
guage to surpass in composition many of the 
Psalms in this volume. His version of Psalm 
cxix. may be taken as one of those instances 
in which the true poetic genius of Charles 
Wesley shines forth in unrivaled splendor. 
Here he has, by a touch of his pen more po- 
tent than that of the famed philosopher's 
stone, transmuted the tin of the old dispensa- 
tion into the pure gold of the Christian sanc- 
tuary, and has presented to us an enchanting 
and well-sustained poem, which, without any 
approach to tautology, exhibits all the pleas- 

ing variety, warmth, and freshness of origi- 
nal verse, while it tenaciously adheres to the 
spirit of the inspired Psalmist. 

Charles Wesley made a version of a 
large portion, though not all, of the 
Psalms. He gave a manuscript copy of 
these in his own handwriting, it seems, 
to the countess of Huntingdon. This 
manuscript volume, curiously enough, 
found its way, about 1850, into a second- 
hand bookstore in London, neither the 
vendors nor the buyer apparently know- 
ing what it was. It was here that Mr. 
Fish found it, and, recognizing the hand- 
writing and the great value of the volume, 
immediately purchased it. It was from 
this manuscript that he obtained most of 
the material for the volume above referred 
to, from the introduction to which the 
foregoing quotation was taken. 

159 10s, lis. D. Irregular. 

LIFT your glad voices in triumph on high, 
For Jesus hath risen, and man cannot die ; 
Vain were the terrors that gathered around 
And short the dominion of death and the 
grave ; 
He burst from the fetters of darkness that 
bound him, 
Resplendent in glory to live and to save ! 
Loud was the chorus of angels on high, 
The Saviour hath risen, and man shall not 

2 Glory to God, in full anthems of joy ; 

The being he gave us death cannot destroy : 
Sad were the life we must part with to- 
If tears were our birthright, and death 
were our end ; 
But Jesus hath cheered the dark valley of 
And bade us, immortal, to heaven ascend : 
Lift then your voices in triumph on high, 
For Jesus hath risen, and man shall not die. 
Henry Ware, Jr. 

Title: "The Resurrection of Christ." 
This glad hymn of victory was written in 
1817, and was first published in the Chris- 
tian Disciple and afterwards in the Chris- 
tian Examiner. Boston. It is taken, unal- 
tered, from the author's Works, Volume I., 
Boston, 1846. 



The best hymn we possess for the open- 
ing of an organ, so W. G. Horder thinks, 
we owe to Henry Ware. One verse of it 

Great God, to thee we consecrate 

Our voices and our skill ; 
We bid the pealing organ wait 

To speak alone thy will. 
O teach its rich and swelling notes 

To lift our souls on high, 
.And while the music round us floats, 

Let earth-born passion die. 


8s, 7s. D. 

SING with all the sons of glory, 
Sing the resurrection song ! 
Death and sorrow, earth's dark story, 

To the former days belong ; 
All around the clouds are breaking, 

Soon the storms of time shall cease ; 
In God's likeness, man, awaking, 
Knows the everlasting peace. 

2 O what glory, far exceeding 

All that eye has yet perceived ! 
Holiest hearts for ages pleading, 

Never that full joy conceived. 
God has promised, Christ prepares it ; 

There on high our welcome waits ; 
Every humble spirit shares it, 

Christ has passed th' eternal gates. 

3 Life eternal ! heaven rejoices, 

Jesus lives who once was dead ; 
Join, O man, the deathless voices, 

Child of God, lift up thy head ! 
Patriarchs from the distant ages, 

Saints all longing for their heaven, 
Prophets, psalmists, seers, and sages, 

All await the glory given. 

4 Life eternal ! O what wonders 

Crowd on faith ! what joy unknown, 
"When, amidst earth's closing thunders, 

Saints shall stand before the throne ! 
O to enter that bright portal, 

See that glowing firmament, 
Know, with thee, O God immortal, 

"Jesus Christ whom thou hast sent !" 
William J. Irons. 

From the author's Psalms and Hymns 
for the Church, 1873. The last four lines 
of the first stanza are as follows in the 

Even now the dawn is breaking. 

Soon the night of time shall cease, 
And in God's own likeness waking, 

Man shall know eternal peace. 

161 6, C, 4, G, 6, 6, 4. 

RISE, glorious Conqueror, rise 
Into thy native skies ; 
Assume thy right ; 
And where in many a fold 
The clouds are backward rolled, 
Pass through those gates of gold, 
And reign in light. 

2 Victor o'er death and hell, 
Cherubic legions swell 

The radiant train : 
Praises all heaven inspire ; 
Each angel sweeps his lyre, 
And claps his wings of fire, 

Thou Lamb once slain ! 

3 Enter, incarnate God ! 

No feet but thine have trod 

The serpent down : 
Blow the full trumpets, blow, 
Wider yon portals throw, 
Saviour, triumphant, go, 

And take thy crown ! 

4 Lion of Judah, hail ! 
And let thy name prevail 

From age to age : 
Lord of the rolling years, 
Claim for thine own the spheres, 
For thou hast bought with tears 

Thy heritage. 

Matthew Bridges. 

Title: "Ascension."' This triumphant 
hymn first appeared in the author's 
Hymns of the Heart, 1848. The original 
has seven stanzas. These are the first 
four unaltered. 




AIL the day that sees him rise, 

Ravished from our wishful eyes 
Christ, awhile to morta.s given, 
Reascends his native heaven. 

2 There the pompous triumph waits : 
Lift your heads, eternal gates ; 
Wide unfold the radiant scene ; 
Take the King of Glory in ! 

3 Circled round with angel powers, 
Their triumphant Lord and ours, 
Conqueror over death and sin — 
Take the King of Glory in ! 

4 Him though highest heaven receives, 
Still he loves the earth he leaves; 
Though returning to his throne, 
Still he calls mankind his own. 



5 Saviour, parted from our sight, 
High above yon azure height, 

Grant our hearts may thither rise, 
Following thee beyond the skies. 

Charles Wesley. 

This "Hymn for Ascension Day" is tak- 
en from the author's Hymns and Sacred 
Poems, 1739. The original has ten stan- 
zas; those here given are the first four 
and the eighth. In the first line of the 
last stanza above the author wrote: 
"Grant, though parted from our sight." 
The words of the Psalmist, "Lift up your 
heads, O ye gates; and be ye lifted up. ye 
everlasting doors; and the King of glory 
shall come in," are here applied to Christ. 
"Who is this King of glory?"' "The risen 
Christ," is the poet's answer. 

163 «s, 6s. D. 

COME, ye faithful, raise the strain 
Of triumphant gladness ! 
God hath brought his Israel 

Into joy from sadness, 
Loosed from Pharaoh's bitter yoke 

Jacob's sons and daughters, 

Led them with unmoistened foot 

Through the Red Sea waters. 

2 'Tis the spring of souls to-day : 

Christ hath burst his prison, 
From the frost and gloom of death 

Light and life have risen. 
All the winter of our sins, 

Long and dark, is flying 
From his light to whom we give 

Thanks and praise undying. 

3 Now the queen of seasons, bright 

With the day of splendor, 
With the royal feast of feasts, 

Comes its joy to render; 
Comes to glad Jerusalem, 

Who, with true affection, 
Welcomes in unwearied strains 

Jesus' resurrection ! 

4 "Hallelujah !" now we cry 

To our King Immortal, 
Who, triumphant, burst the bars 

Of the tomb's dark portal ; 
"Hallelujah !" with the Son, 
God the Father praising; 
"Hallelujah !" yet again 
To the Spirit raising. 

John of Damascus. 
Tr. by John M. Xeale. 

From the Greek of the eighth century 

by John the Damascene. This translation 

| appeared in Hymns of the Eastern Church. 

In the second verse, lines three and four, 

Dr. Neale wrote: 

And from three days' sleep in death, 
As a sun, hath risen. 

The last stanza was written by the ed- 
itors of Hymns Ancient and Modern for 

, the first edition (1861) of that collection. 
In the latest "Historical Edition" (1909) 

I it has been changed to the form given be- 
low, being accompanied by these words: 
"In the original edition this took the form 
of a doxology hardly connected with the 
Ode, but in this edition it has been rewrit- 
ten and brought into correspondence with 
the Greek:" 

Alleluia now to thee, 

Christ, our King immortal, 
Who hast passed the gates of death 

And the tomb's sealed portal ; 
Who, though never door unclose, 

In the assembly standing, 
Breathest on thy friends the peace 

Past all understanding. 

In all ages, dating from apostolic times, 
Christians have celebrated the resurrec- 
tion, and with good reason, for to every 
Christian it can be said, as Paul said to 
the Corinthians: "If Christ be not raised, 
your faith is vain; ye are yet in your 
sins." (1 Cor. xv. 17.) 


7s, 6s. D. 

THE day of resurrection, 
Earth, tell it out abroad, 
The passover of gladness, 

The passover of God. 
From death to life eternal, 
From earth unto the sky. 
Our Christ hath brought us over 
With hymns of victory. 

2 Our hearts be pure from evil, 

That we may see aright 
The Lord in rays eternal 

Of resurrection light ; 
And. listening to his accents. 

May hear, so calm and plain. 
His own "All hail '." and. hearing, 

May raise the victor strain. 




3 Now let the heavens be joyful ! 
Let earth her song begin ! 
Let the round world keep triumph, 

And all that is therein ! 
Invisible and visible, 

Their notes let all things blend, 
For Christ the Lord hath risen, 
Our joy that hath no end. 

John of Damascus. 
Tr. by John M. Neale. 

This is the first of eight odes in the 
"Easter Canon" of John of Damascus, and 
has been pronounced by a student of hym- 
nology as "the grandest piece in Greek 
sacred poetry." It is called "the golden 
canon" or "the queen of canons." The 
hymn is sung every Easter day in Athens 
and throughout the Greek Church gener- 
ally amid scenes of joyful acclamation. 
It is customary when this hymn is sung 
for the "men to clasp each other's hands 
and rejoice as though some great joy had 
suddenly come to them all." A visitor de- 
scribing the Easter celebration at Athens 
as he witnessed it, including the singing 
of this hymn, says: 

All the while, rising above the mingling of 
many sounds, e#ch one of which was a sound 
of gladness, the aged priests were distinctly 
heard chanting forth a glorious old hymn of 
victory in tones so loud and clear that th2y 
seemed to have regained their youth and 
strength to tell the world how Christ is risen 
from the dead. 

In Dr. Neale's Hymns of the Eastern 
Church, 1862, where this translation of the 
original Greek hymn was first published, 
it begins, " 'Tis the day of resurrection;" 
but the author changed this to "The day 
of resurrection," as above, for his Parish 
Hymn Book, 1863. The hymns of John of 
Damascus find their inspiration in the in- 
carnation, life, and resurrection of Christ. 
His resurrection hymns are especially 
inspiring, and have found a thoroughly 
appreciative and sympathetic translator 
in Dr. Neale. "The brilliant phrases," 
says a judicious and discriminating crit- 
ic, "culminating in acclamation, the free- 
dom of the thoughts, the ringing, victori- 
ous joy, and the lofty presentation of the 

import of the resurrection, compose a se- 
ries of magnificent efforts of imaginative 


L. M. 


E dies ! the Friend of sinners dies ! 
Lo ! Salem's daughters weep around ; 
A solemn darkness veils the skies, 

A sudden trembling shakes the ground. 

2 Here's love and grief beyond degree : 

The Lord of Glory dies for man ! 
But lo ! what sudden joys we see, 
Jesus, the dead, revives again ! 

3 The rising God forsakes the tomb ; 

In vain the tomb forbids his rise ; 
Cherubic legions guard him home, 
And shout him welcome to the skies. 

4 Break off your tears, ye saints, and tell 

How high your great Deliverer reigns ; 
Sing how he spoiled the hosts of hell, 
And led the monster death in chains ! 

5 Say, "Live forever, wondrous King ! 

Born to redeem, and strong to save;" 
Then ask the monster, "Where's thy sting?" 
And, "Where's thy victory, boasting 
Isaac Watts. Alt. by Martin Madan. 

Title: "Christ Dying, Rising, and Reign- 
ing."' From Horm Lyrical, 1709. The first 
stanza, as given in Watts's Poetical Works, 
is as follows: 

He dies ! the Heav'nly Lover dies ! 

The Tidings strike a doleful Sound 
On my poor Heartstrings : deep he lies 

In the cold Caverns of the Ground. 

The second line of verse three has also 
been altered. The author wrote: 

Up to his Father's Court he flies. 

One stanza, the second, has been omit- 
ted. These changes are confessedly great 
improvements. They were made by the 
Rev. Martin Madan for his Collection of 
Psalms and Hymns, London, 1760. We 
notice, however, that he altered only six 
lines. The merits of the hymn — and they 
are of the highest rank — belong largely 
to the original author. 

The death, resurrection, ascension, and 
reign of Christ are all set forth in worthy 
notes in this noble hymn. 






ELCOME, happy morning ! age to age 
shall say : 
Hell to-day is vanquished, heaven is won 

to-day ! 
Lo, the Dead is living, God for evermore ! 
Him their true Creator, all his works adore. 

2 Earth with joy confesses, clothing her for 

All good gifts returned with her returning 

Bloom in every meadow, leaves on every 

Speak his sorrows ended, hail his triumph 


3 Maker and Redeemer, life and health of all, 
Thou, from heaven beholding human na- 
ture's fall, 

Of the Father's Godhead true and only Son, 
-Manhood to deliver, manhood didst put on. 

4 Thou, of life the author, death didst under- 

Tread the path of darkness, saving strength 

to show ; 
Come then, true and faithful, now fulfill thy 

'Tis thine own third morning, rise, O buried 


5 Loose the souls long prisoned, bound with 

Satan's chain ; 
All that now is fallen raise to life again ; 
Show thy face in brightness, bid the nations 

Bring again our daylight ; day returns with 
thee ! 

Venantius Fortunatus. 
Tr. by John Ellerton. 

"De Resurrectione Domini" is the title 
of this hymn in the Latin. The original 
upon which it is based is a Latin poem of 
110 lines on the resurrection, beginning: 
"Tempora florigero rutilant distincta sere- 
no." The thirty-ninth line begins, "Salve 
festa dies toto venerabilis aevo" and 
marks the beginning of that section of the 
poem which is translated, or rather para- 
phrased, by Ellerton and given in the 
above hymn. The poem is addressed to 
Felix, Bishop of Nantes in Brittany, who 
died in 582. The first stanza is repeated 
as a refrain at the end of each stanza. 
The third stanza of the translation, omit- 
ted above, is: 

Months in due succession, 

Days of Lengthening light, 
Hours and passing moments, 

Praise thee in their flight ; 
Brightness of the morning, 

Sky and fields and sea, 
Vanquisher of darkness, 

Bring their praise to thee. 

That Fortunatus, who was Bishop of 
Poitieres in the early part of the seventh 
century, should have written a hymn that 
could strengthen and inspire one of the 
greatest martyrs of the Christian Church 
is an honor to his memory and a tribute 
to the influence of his hymn. Jerome of 
Prague is said to have sung this hymn on 
his way to the stake where he was burned 
to death: "As the fires wrapped their aw- 
ful folds about his body, he was heard to 
exclaim: 'This soul in flames I offer, Lord, 
to thee!' And so he finished his course 
and kept the faith." 


C. M. 

BEHOLD the glories of the Lamb 
Amidst his Father's throne ; 
Prepare new honors for his name, 
And songs before unknown. 

2 Let elders worship at his feet, 

The church adore around ; 
With vials full of odors sweet, 
And harps of sweetest sound. 

3 Those are the prayers of all the saints, 

And these the hymns they raise : 
Jesus is kind to our complaints, 
He loves to hear our praise. 

4 Now to the Lamb that once was slain 

Be endless blessings paid. 
Salvation, glory, joy, remain 
Forever, on thy head. 

5 Thou hast redeemed our souls with blood, 

Hast set the prisoners free ; 
Hast made us kings and priests to God ; 
And we shall reign with thee. 

Isaac Watts. 

This is the first hymn in Dr. Watts's 
Hymns and Spiritual Songs, 1707. Title: 
"A new Song to the Lamb that was slain." 
(Rev. v. 6, 7, 8, 9, 10.) Of eight stanzas, 
these are the first three, the sixth, and 
seventh. One word only has been changed. 
In the last line of the second stanza Watts 
wrote: "And harps of sweeter sound." 



It is interesting to compare these stan- 
zas with the verses of Scripture upon 
which they are based: 

6 And I beheld, and, lo, in the midst of 
the throne and of the four beasts, and in the 
midst of the elders, stood a Lamb as it had 
been slain, having seven horns and seven 
eyes, which are the seven spirits of God sent 
forth into all the earth. 

7 And he came and took the book out of 
the right hand of him that sat upon the 

8 And when he had taken the book, the 
four beasts and four and twenty elders fell 
down before the Lamb, having every one of 
them harps and golden vials full of odors, 
which are the prayers of saints. 

9 And they sung a new song, saying, Thou 
art worthy to take the book, and to open the 
seals thereof : for thou wast slain, and hast 
redeemed us to God by thy blood out of every 
kindred, and tongue, and people, and nation. 

10 And hast made us unto our God kings 
and priests : and we shall reign on the earth. 

The title and first stanza come from 
verses 6 and 9, the second stanza from 
verse 8, the third stanza from the last 
part of verse 8, the fourth, stanza from 
verse 9, and the fifth stanza from verse 

The poet Montgomery says that "Dr. 
Watts may almost be called the inventor 
of hymns in our language." It is said 
that young Watts found fault with the 
hymns of his day in the hearing of some 
of the leading members of his father's 
Church at Southampton. The reply was: 
"Young man, give us something better." 
He did give something better, and became 
the father of modern hymn-writers. 

Watts was at his home, in Southamp- 
ton, from the spring of 1694 until the fall 
of 1696, two and a half years. It was 
during this time, some of his biographers 
say, that he began to write hymns for 
use in the chapel at Southampton. This 
hymn is said to be the first that was so 

We give herewith, as a matter, of curi- 
osity, some specimens of the hymns sung 

before the days of Watts, and of which 
he so justly complained. They were "dea- 
coned off and sung one line at a time;" 

'Tis like the precious ointment 
Down Aaron's beard did go ; 

Down Aaron's beard it downward went, 
His garment skirts unto. 

In 1562 a version of the Psalms known 
as Sternhold and Hopkins's was issued, in 
which the tenth and eleventh verses of 
the seventy-fourth Psalm are put into 
verse. The Psalmist says: "O God, how 
long shall the adversary reproach? Why 
withdrawest thou thy hand, even thy 
right hand? pluck it out of thy bosom." 
The poet renders it for singing thus: 

Why dost withdraw thy hand aback, 

And hide it in thy lappe? 
O pluck it out, and be not slack, 

To give thy foes a rappe. 

The Scripture language, "The race is 
not to the swift, nor the battle to the 
strong," was thus arranged for singing, 
and, as one says, "it contains truth, what- 
ever may be said of its poetry;" 

The race is not forever got 
By him who fastest runs : 

Nor the battle by those people 
Who shoot the longest guns. 

Of the following specimen Dr, Belcher 
says: "Though our readers may smile at 
it, their fathers did not:" 

Ye monsters of the bubbling deep, 
Tour Maker's praises spout : 

Up from the sands, ye codlings, peep, 
And wag your tails about. 

W. G. Horder, in commenting on the oc- 
casion which called forth this first hymn 
and others by Watts, says: 

It was this poverty which really gave birth 
to our modern hymnody, for, In the deepest 
sense, Dr. Watts is its founder. His version 
of the Psalms and his original hymns sup- 
planted all previous ones, and for many a 
long year held undisputed possession of the 
Nonconformist Church against all comers. . . . 
So venerated were his hymns and psalms that 
in this very century [the nineteenth] there 
were persons who refused to sing any others 
and actually sat down if any others were 



given out. . . . This unique position of 
Dr. Watts is due partly to the excellence and 
suitability of his hymns to the purposes of 
public worship and partly to the nakedness 
of the land at the time he wrote. He is the 
pioneer of popular English hymnody. He 
broke new ground. For this he deserves to 
be kept in perpetual remembrance. 

168 L- m. 

I KNOW that my Redeemer lives ; 
What joy the blest assurance gives ! 
He lives, he lives, who once was dead ; 
He lives, my everlasting Head ! 

2 He lives, to bless me with his love ; 
He lives, to plead for me above ; 
He lives, my hungry soul to feed ; 
He lives, to help in time of need. 

3 He lives, and grants me daily breath ; 
He lives, and I shall conquer death ; 
He lives, my mansion to prepare ; 
He lives, to bring me safely there. 

4 He lives, all glory to his name ; 

He lives, my Saviour, still the same ; 
What joy the blest assurance gives, 
I know that my Redeemer lives ! 

Samuel Medley. 

This hymn was first published, so far 
as is known, in George Whitefield's 
Psalms and Hymns, 1775, in nine stanzas 
of four lines each. It is also found in 
Medley's Hymns, London, 1800. In the 
first stanza, lines two and four, the author 
wrote, "What comfort this sweet passage 
gives!" and "He lives, my ever-Jiving 
Head." In the fourth stanza, lines two 
and three, he wrote: 

He lives, my Jesus, still the same : 
O the sweet joy this sentence gives. 

It is based on Job xix. 25, "I know that 
my Redeemer liveth," interpreted in the 
light of New Testament events. 


8s, 7s. 61. 

LOOK, ye saints, the sight is glorious, 
See the Man of sorrows now ; 
From the fight returned victorious, 
Every knee to him shall bow : 

Crown him, crown him ! 
Crcwns become the Victor's brow. 

2 Crown the Saviour, angels, crown him 
Rich the trophies Jesus brings : 

In the seat of power enthrone him, 
While the vault of heaven rings: 

Crown him, crown him ! 
Crown the Saviour King of kings. 

3 Sinners in derision crowned him. 

Mocking thus the Saviour's claim ; 
Saints and angels" crowd around him, 
Own his title, praise his name : 

Crown him, crown him ! 
Spread abroad the Victor's fame. 

4 Hark, those bursts of acclamation ! 

Hark, those loud triumphant chords ! 
Jesus takes the highest station : 
O what joy the sight affords! 

Crown him, crown him, 
King of kings, and Lord of lords. 

Thomas Kelly. 

Text: "And he shall reign forever and 
ever." (Rev. xi. 15.) 

From the author's Hymns on Various 
Passages of Scripture, third edition, 1809. 
Unaltered and entire. Julian says: "In 
popular and extensive use in Great Brit- 
ain and America. It ranks with many of 
the best hymns of Watts and C. Wesley." 



7s. D. 
E is gone ; a cloud of light 

Has received him from our sight ; 
High in heaven, where eye of men 
Follows not, nor angels' ken ; 
Through the veils of time and space, 
Passed into the holiest place ; 
All the toil, the sorrow done, 
All the battle fought and won. 

2 He is gone ; toward their goal 
World and Church must onward roll. 
Far behind we leave the past ; 
Forward are our glances cast. 

Still his words before us range 
Through the ages, as they change ; 
Wheresoe'er the truth shall lead, 
He will give whate'er we need. 

3 He is gone ; but we once more 
Shall behold him as before ; 

In the heaven of heavens the same, 
As on earth he went and came. 
In the many mansions there, 
Place for us he will prepare : 
In that world unseen, unknown, 
He and we shall yet he one. 

Arthur P. Stanley. 

This hymn, "For Ascension Day." was 
first published in Macmillan's Magazine 



for June, 1862, and later in the Westmin- 
ster Abbey Hymn Book, 1883, where it has 
seven stanzas of eight lines each. In its 
original unabridged form it begins: "He 
is gone — beyond the skies." It is also 
printed in Schaff's Christ in Song, 1870, 
accompanied by the following note: 

It is here given complete from a manu- 
script copy kindly furnished by the author to 
the editor on Ascension Day, May 6, 1869. 
The Dean informs me that this hymn "was 
written about ten years ago (1859), at the 
request of a friend whose children had com- 
plained to him that there was no suitable 
hymn for Ascension Day, and who were 
eagerly asking what had been the feelings of 
the disciples after that event." 

The revised and abbreviated version 
given above was prepared and published 
with the author's consent in the Chapel 
Royal, Savoy, Hymnary Appendix, 1870. 

Taken in its unabridged form, this 
hymn is a sermon in a song, at once up- 
lifting and inspiring. 

171 8s, 7s. D. 

HAIL, thou once despised Jesus ! 
Hail, thou Galilean King ! 
Thou didst suffer to release us ; 

Thou didst free salvation bring. 
Hail, thou agonizing Saviour, 

Bearer of our sin and shame ! 
By thy merits we find favor ; 
Life is given through thy name. 

2 Paschal Lamb, by God appointed, 

All our sins on thee were laid : 
By almighty love anointed, 

Thou hast full atonement made. 
All thy people are forgiven, 

Through the virtue of thy blood ; 
Opened is the gate of heaven ; 

Peace is made 'twixt man and God. 

3 Jesus, hail ! enthroned in glory, 

There forever to abide ; 
All the heavenly hosts adore thee, 

Seated at thy Father's side : 
There for sinners thou art pleading ; 

There thou dost our place prepare : 
Ever for us interceding, 

Till in glory we appear. 

4 Worship, honor, power, and blessing, 

Thou art worthy to receive ; 

Loudest praises, without ceasing, 

Meet it is for us to give. 
Help, ye bright angelic spirits ; 

Bring your sweetest, noblest lays ; 
Help to sing our Saviour's merits ; 

Help to chant Immanuel's praise ! 

John Bakewell. 

A true and valuable hymn. A part of it 
w r as published in London a,s early as 1757. 
In Psalms and Hymns, 1760, published by 
Rev. Martin Madan, it appeared in four 
stanzas much as it is found here. 

Tradition assigns the authorship to 
John Bakewell (1721-1819). He was one 
of John Wesley's lay preachers. He may 
have rewritten it for Madan's collection. 

This hymn is worshipful and at the 
same time is strongly doctrinal. The hu- 
I miliation and suffering of the Saviour are 
plainly brought out on the one hand and 
his glorification and worship on the oth- 
er. The atonement and intercession of 
Christ are plainly taught. It has been 
widely used, and has strengthened the 
faith and inspired the worship of unnum- 
bered disciples. 

172 s. M. 

JESUS, the Conqueror, reigns, 
In glorious strength arrayed ', 
His kingdom over all maintains, 
And bids the earth be glad. 

2 Ye sons of men, rejoice 

In Jesus' mighty love ; 
Lift up your heart, lift up your voice, 
To him who rules above. 

3 Extol his kingly power ; 

Kiss the exalted Son, 
Who died, and lives to die no more, 
High on his Father's throne. 

4 Our advocate with God, 

He undertakes our cause, 
And spreads through all the earth abroad 
The victory of his cross. 

Charles Wesley. 

This is one of a number of "Hymns for 
Believers" found in Hymns and Sacred 
Poems, 1749, where it has sixteen double 
stanzas, of which the above are the first 




C. M. 

THE head that once was crowned with thorns 
Is crowned with glory now ; 
A royal diadem adorns 
The mighty Victor's brow. 

2 The highest place that heaven r.ffords 

Is his, is his by right, 
The King of kings, and Lord of lords, 
And heaven's eternal Light : 

3 The joy of all who dwell abow, 

The joy of all below, 
To whom he manifests his love, 
And grants his name to know. 

4 To them the cross, with all its shame, 

With all its grace, is given ; 
Their name, an everlasting name, 
Their joy, the joy of heaven. 

5 They suffer with their Lord below, 

They reign with him above ; 
Their everlasting joy to know 
The mystery of his love. 

Thomas Kelly. 

Title: ''Perfect through Sufferings." 
(Heb. ii. 10.) It is from Hymns on Vari- 
ous Passages of Scripture, 1820. 

The third line of the fifth stanza was 
originally: "Their profit and their joy to 
know." The last stanza is omitted: 

The cross he bore is life and health, 
Though shame and death to him ; 

His people's hope, his people's wealth, 
Their everlasting theme. 

The great contrast between the Christ 
who humbled himself and became obe- 
dient unto death and the glorified Christ 
is brought out here very plainly, as is also 
the joy of the saved in heaven. It is a 
popular and valuable hymn. 

174 8s, 7s. D. 

ONE there is, above all others, 
Well deserves the name of Friend ; 
His is love beyond a brother's, 

Costly, free, and knows no end. 
Which of all our friends, to save us. 

Could or would have shed his blood? 
But the Saviour died to have us 
Reconciled in him to God. 

2 When he lived on earth abased, 
Friend of sinners was his name ; 
Now, above all glory raised, 
He rejoices in the same. 

O for grace our hearts to soften ! 

Teach us, Lord, at length to love ; 
We, alas! forget too often 

What a Friend we have above. 

John Newton. 

"A Friend That Sticketh Closer than a 
Brother" is the title of this hymn in the 
Olney Hymns, 1779. It is based on Prov- 
erbs xvii. 24: "A man that hath friends 
must show himself friendly: and there is 
a friend that sticketh closer than a broth- 
er." The hymn, as given above, is much 
altered from the original, which contains 
six stanzas of six lines each. The above 
two double stanzas are made from four 
single stanzas, omitting the last two lines 
of each. 

The following is the original form of 
this famous hymn, which many claim is 
the most widely known and tenderly cher- 
ished of all Newton's compositions: 

1 One there is, above all others, 

Well deserves the name of Friend : 
His is love beyond a brother's, 

Costly, free, and knows no end : 
They who once his kindness prove 
Find it everlasting love. 

2 Which of all our friends, to save us. 

Could or would have shed his blood? 
But our Jesus died to have us 

Reconciled in him to God : 
This was boundless love indeed ! 
Jesus is a friend in need. 

3 Men, when raised to lofty stations, 

Often know their friends no more ; 
Slight and ..corn their poor relations, 

Though they valued them before : 
But our Saviour always owns 
Those whom he redeemed with groans. 

-1 When he lived on earth abased, 

"Friend of sinners" was his name ; 
Now above all glories raised, 

He rejoices in the same ; 
Still he calls them brethren, friends, 
And to all their wants attends. 

5 Could we bear from one another 
What he daily bears from us? 
Yet this glorious Friend and Brother 
Loves us though we treat him thus : 
Though for good we render ill, 
He accounts us brethren still. 




6 Oh, for grace our hearts to soften ! 

Teach us, Lord, at length to love ; 
We, alas ! forget too often 

What a Friend we have above : 
But when home our souls are brought, 
We will love thee as we ought. 

"What commends these stanzas to 
Christian hearts," says Dr. C. S. Robinson, 
"is the prevailing sentiment embodied in 
every one of them that our Lord, the 
'Friend that sticketh closer than a broth- 
er,' was actuated by a positive, active, 
seeking love for the sinner before that 
sinner had even become a subject of grace. 
We must read the life of Jesus Christ as 
the mere unfolding of this love." 

175 6s, 5s. D. 

GOLDEN harps are sounding, 
Angel voices ring, 
Pearly gates are opened, 

Opened for the King. 
Christ, the King of glory, 

Jesus, King of love, 
Is gone up in triumph 
To his throne above. 
All his work is ended ; 

Joyfully we sing, 
Jesus hath ascended, 
Glory to our King ! 

2 He who came to save us, 

He who bled and died, 
Now is crowned with glory, 

At his Father's side. 
Never more to suffer, 

Never more to die ; 
Jesus, King of glory, 

Is gone up on high. 

3 Pleading for his children 

In that blessed place, 
Calling them to glory, 

Sending them his grace, 
His bright home preparing, 

Faithful ones, for you, 
Jesus ever liveth, 

Ever loveth too. 

Frances R. Havergal. 

Dr. Julian gives the history of this fa- 
vorite hymn in the Dictionary of Hymnol- 
ogy as follows: 

While visiting at Perry Barr, F. R. H. 
walked to the boys' schoolroom, and, being 
very tired, she leaned against the v playground 
wall while Mr. Snepp [editor of Songs of 


Grace and Glory, 1872] went in. Returning 
in ten minutes, he found her scribbling on an 
old envelope. At his request she gave him the 
hymn just penciled. 

Miss Havergal composed the tune, "Her- 
nias," for this hymn. About this time 
Miss Havergal wrote to a friend concern- 
ing her hymns: 

It does seem wonderful that God should so 
use and bless my hymns ; and yet it really 
does seem as if the seal of his own blessing 
were set upon them, for so many testimonies 
have reached me. Writing is praying with 
me, for I never seem to write even a verse by 
myself and feel like a little child writing. 
You know a child would look up at every sen- 
tence and say : "What shall I say next?" 
That is just what I do ; I ask that at every 
line He would give me — not merely thoughts 
and power, but also every word, even the very 
rhymes. Very often I have a most distinct 
and happy consciousness of direct answers. 

176 8s, 7s. D. 

HALLELUJAH ! sing to Jesus ! 
His the scepter, his the throne; 
Hallelujah ! his the triumph, 

His the victory alone ; 
Hark ! the songs of peaceful Zion 

Thunder like a mighty flood ; 
Jesus out of every nation 

Hath redeemed us by his blood. 

2 Hallelujah ! not as orphans 

Are we left in sorrow now ; 
Hallelujah ! he is near us, 

Faith believes, nor questions how. 
Though the cloud from sight received him 

When the forty days were o'er, 
Shall our hearts forget his promise, 

"I am with you evermore?" 

3 Hallelujah ! Bread of heaven, 

Thou on earth our Food, our Stay ! 
Hallelujah ! here the sinful 

Flee to thee from day to day ; 
Intercessor, Friend of sinners, 

Earth's Redeemer, plead for me, 
Where the songs of all the sinless 

Sweep across the crystal sea. 

4 Hallelujah ! sing to Jesus ! 

His the scepter, his the throne ; 
Hallelujah ! his the triumph, 

His the victory alone. 
Hark ! the songs of peaceful Zion 

Thunder like a mighty flood ; 
Jesus, out of every nation, 

Hath redeemed us by his blood. 

William C. Dix. 



This hymn was written about 18G6, and 
was first published in the author's Altar 
Songs, 1867, in five stanzas of eight lines 
each, where it bears the title, "Redemp- 
tion by the Precious Blood." It was writ- 
ten as a eucharistic hymn. The omitted 
stanza is: 

Hallelujah ! King eternal, 

Thee the Lord of lords we own ; 
Hallelujah ! born of Mary, 

Earth thy footstool, heaven thy throne : 
Thou within the veil hast entered, 

Robed in flesh, our great High-Priest ; 
Thou on earth both Priest and Victim 

In the eucharistic feast. 


I, 7, 8, 7, 7, 7. 

HARK, ten thousand harps and voices 
Sound the note of praise above ! 
Jesus reigns, and heaven rejoices ; 

Jesus reigns, the God of love ; 
See, he sits on yonder throne ; 
Jesus rules the world alone. 
Hallelujah ! hallelujah ! 
Hallelujah ! Amen ! 

2 Jesus, hail ! whose glory brightens 

All above, and gives it worth ; 
Lord of life, thy smile enlightens, 

Cheers and charms thy saints on earth : 
When we think of love like thine, 
Lord, we own it love divine. 
Hallelujah ! hallelujah ! 
Hallelujah ! Amen ! 

3 Saviour, hasten thine appearing ; 

Bring, O bring the glorious day, 
When, the awful summons hearing, 

Heaven and earth shall pass away ; 
Then with golden harps we'll sing, 
"Glory, glory to our King !" 
Hallelujah ! hallelujah ! 
Hallelujah ! Amen ! 

Thomas Kelly. 

Text: "Let all the angels of God wor- 
ship him." (Heb. i. 6.) Seven stanzas. 
Found in the author's Hymns, second edi- 
tion, 1806. These are one, five, and seven 
unaltered. Dr. Lowell Mason added the 
"Hallelujahs" when he set the hymn to 

Some people will find it difficult to sing 
the last stanza honestly. A better selec- 
tion, perhaps, would have been the sixth 

King of glory, reign forever, 
Thine an everlasting crown : 

Nothing from thy love shall sever 

Those whom thou hast made thine own ; 

Happy objects of thy grace, 

Destined to behold thy face. 

1T8 6, 6, 6, 6, 8, 8. 

REJOICE, the Lord is King ! 
Your Lord and King adore ; 
Mortals, give thanks and sing, 
And triumph evermore. 
Lift up your heart, lift up your voice ; 
Rejoice, again I say, rejoice. 

2 Jesus, the Saviour, reign i, 

The God of truth and love ; 
When he had purged our stains, 

He took his seat above. 
Lift up your heart, lift up your voice ; 
Rejoice, again I say, rejoice. 

3 His kingdom cannot fail, 

He rules o'er earth and heaven ; 
The keys of death and hell 

Are to our Jesus given. 
Lift up your heart, lift up your voice ; 
Rejoice, again I say, rejoice. 

4 He sits at God's right hand 

Till all his foes submit, 
And bow to his command, 
And fall beneath his feet. 
Lift up your heart, lift up your voice ; 
Rejoice, again I say, rejoice. 

5 He all his foes shall quell, 

And all our sins destroy ; 
Let every bosom swell 

With pure seraphic joy. 
Lift up your heart, lift up your voice ; 
Rejoice, again I say, rejoice. 

6 Rejoice in glorious hope ; 

Jesus the Judge shall come, 
And take his servants up 
To their eternal home : 
We soon shall hear the archangel's voice ; 
The trump of God shall sound, "Rejoice !" 
Chai-les Wesley. 

From the author's Hymns on Our 
Lord's Resurrection, 1746. It is based 
on Philippians iv. 4: "Rejoice in the Lord 
always; and again I say, Rejoice." The 
theme of this hymn — the kingship and 
reign of Christ as the ground of confi- 
dence and joy to the believer — is well cal- 
culated to call forth from a poet like Wes- 



ley just such noble and stirring stanzas 
as those found in this hymn. 

Dr. Telford has an interesting note on 
this hymn: 

In 1828 Samuel Wesley, the great organist, 
discovered in the library of the Fitzwilliam 
Museum at Cambridge, in Handel's handwrit- 
ing, three tunes which he composed for three 
of his father's hymns : 

"Rejoice, the Lord is King !" 
"Sinners, obey the gospel word." 
O Love divine, how sweet Thou art !" 
"Gopsal" is the tune for the first, and is at- 
tached to it in the tune book of 1904. Gopsal 
Hall, near Ashby-de-la-Zouch, was the home 
of Charles Jennens, the compiler of the libret- 
to for "The Messiah." Handel frequently vis- 
ited him, and has commemorated the friend- 
ship in this name for his tune. A facsimile 
of Handel's manuscript is given in the Pro- 
ceedings of the Wesley Historical Society, iii., 
8, page 239, with some interesting notes by 
Mr. James T. Lightwood. Handel was a 
friend of Mr. Rich, who put Covent Garden 
Theater at his service for the performance of 
his operas. Handel taught music to Mr. 
Rich's daughters, and at his house Charles 
Wesley and his wife met the German com- 
poser. Mrs. Rich was converted under Charles 
Wesley's ministry, and was one of the first 
who attended West Street Chapel. The poet 
dined there on October 26, 1745, and says: 
"The family concealed their fright tolerably 
well. Mr. Rich behaved with great civility. 
I foresee the storm my visit will bring upon 
him." According to Samuel Wesley, Mrs. 
Rich asked Handel to set music to these 
hymns. He says : "I cannot anticipate a 
greater musical gratification (not even at the 
York or Birmingham festivals) than that of 
hearing chanted by a thousand voices, and in 
the strains of Handel : 'Rejoice, the Lord is 

179 S. M. D. 

CROWN him with many crowns, 
The Lamb upon his throne ; 
Hark ! how the heavenly anthem drowns 

All music but its own : 
Awake, my soul, and sing 

Of him who died for thee, 
And hail him as thy matchless King 
Through all eternity. 

2 Crown him the Lord of love ; 
Behold his hands and side, 
Rich wounds, yet visible above, 
In beauty glorified : 

No angel in the sky 

Can fully bear that sight, 
But downward bends his burning eye 

At mysteries so bright. 

3 Crown him the Lord of peace, 

Whose power a scepter sways 
From pole to pole, that wars may cease, 

And all be prayer and praise : 
His reign shall know no end, 

And round his pierced feet 
Fair flowers of paradise extend 

Their fragrance ever sweet. 

4 Crown him the Lord of years, 

The Potentate of time, 
Creator of the rolling spheres, 

Ineffably sublime ! 
All hail ! Redeemer, hail ! 

For thou hast died for me ; 
Thy praise shall never, never fail 
Throughout eternity. 

Matthew Bridges. 
Text and title: "In Capite Ejus Dia- 
demata Multa." (Rev. xix. 12.) Two 
stanzas have been omitted. From Hymns 
of the Heart for the Use of Catholics, by 
Matthew Bridges, Esq., 1848. 

In praise of the Lamb, the world's Re- 
deemer, it is difficult to exaggerate. His 
name is above every name. 

180 C. M. 

ALL hail the power of Jesus' name ! 
Let angels prostrate fall ; 
Bring forth the royal diadem, 
And crown him Lord of all. 

2 Ye chosen seed of Israel's race, 

Ye ransomed from the fall, 
Hail him who saves you by his grace, 
And crown him Lord of all. 

3 Sinners, whose love can ne'er forget 

The wormwood and the gall ; 
Go, spread your trophies at his feet, 
And crown him Lord of all. 

4 Let every kindred, every tribe 

On this terrestrial ball, 
To him all majesty ascribe, 
And crown him Lord of all. 

5 O that, with yonder sacred throng, 

We at his feet may fall ! 
We'll join the everlasting song, 
And crown him Lord of all. 

Edward Perronet. 

This hymn, which has been called "The 
most inspiring and triumphant hymn in 

J 00 


the English language," was written in 
1779 and published anonymously in the 
Gospel Magazine. The first stanza, along 
with a tune called "/S7irwbso7e," was print- 
ed in that periodical for November, 1779. 
This tune was written in the organ gal- 
lery of Canterbury Cathedral by a young 
man only twenty years of age named 
Shrubsole, who had been a chorister there. 
He afterwards changed the name of the 
tune to "Miles Lane," this being the name 
of the Independent Chapel in London 
where he was then organist; and it has 
been so designated ever since. The first 
stanza and the tune as printed in the No- 
vember issue of the magazine attracted 
favorable attention and created a demand 
for the entire hymn, which was accord- 
ingly published in full in the issue for 
April, 1780, with the title, "On the Resur- 
rection — The Lord Is King:' It appeared 
also in a volume published in 1785, titled 
Occasional Verses, Moral and Sacred, Pub- 
lished for the Instruction and Amusement 
of the Candidly Serious and Religious, 
which, though anonymous, was known to 
be by Perronet. This is the only hymn 
by the author contained in the Hymnal, 
but one needs to write only one such 
hymn as this to gain an enviable immor- 
tality in the Christian Church. The au- 
thor in writing this hymn "builded wiser 
than he knew." The last stanza given 
above was not written by Perronet, but 
was added by some unknown hand (pos- 
sibly by Dr. Rippon) ; it has, however, 
been a part of the hymn as used in the 
Church for more than a hundred years. 
The original hymn contained eight stan- 
zas, and has undergone changes so nu- 
merous and radical that we present it here 
as originally written: 

All hail the power of Jesu's name ! 

Let angels prostrate fall ; 
Bring forth the royal diadem, 

To crown him Lord of all ! 

Let high-born seraphs tune the lyre, 
And, as they tune it, fall 

Before his face who tunes their choir, 
And crown him Lord of all! 

Crown him, ye morning stars of light, 
Who fixed this floating ball; 

Now hail the Strength of Israel's' might. 
And crown him Lord of all! 

Crown him, ye martyrs of your God, 

Who from his altar call; 
Extol the Stem of Jesse's rod, 

And crown him Lord of all! 

Ye seed of Israel's chosen race, 

Ye ransomed of the fall, 
Hail him who saves you by his grace, 

And crown him Lord of all ! 

Hail him, ye heirs of David's line, 
Whom David Lord did call, 

The God incarnate, man divine, 
And crown him Lord of all! 

Sinners, whose love can ne'er forget 
The wormwood and the gall, 

Go, spread your trophies at his feet, 
And crown him Lord of all. 

Let every tribe and every tongue 
That bound creation's call, 

Now' shout in universal song, 
The crowned Lord of all. 

In 1787 it appeared in Rippon's Selec- 
tion of Hymns with the additional stan- 
za and in an altered form, which has been 
quite generally adopted by Church hym- 
nals ever since, though not without sev- 
eral changes. It is difficult, if not impos- 
sible, to find any two important modern 
hymnals that give absolutely identical 
versions of this hymn. 

We have here another fine example of 
the splendid service rendered not only to 
an author and his hymn, but to Christian 
hymnology by judicious editors who un- 
dertake to alter and improve the original. 
But for the changes and improvements 
made upon the original of this hymn, it 
could not possibly have gained the high 
place which it now holds among the fore- 
most hymns of the Christian Church. 

Perronet, who seems to have been pos- 
sessed of some property, is said to have 
bequeathed Mr. Shrubsole (1758-1806) a 
considerable legacy in token of his appre- 
ciation of the service he rendered himself 



and his hymn in composing for it the 
tune "Miles Lane." The tune called "Cor- 
onation," by Oliver Holden, was also com- 
posed especially for this hymn, and is re- 
garded by many as even better suited 
than "Miles Lane" to the words of the 
hymn and to inspire those feelings of ex- 
alted adoration and triumphant worship 
which are aroused by the singing of the 
hymn by a great congregation. Both 
tunes, however, should always accompany 
the hymn when published in any modern 
hymnal of the Church. 

"A soul triumphing in its first love is 
a spectacle for men and angels. It makes 
me forget my own sorrows and carry the 
cross of life without feeling it." Thus ex- 
claimed Charles Wesley on November 10, 
1746, just after witnessing the joyous con- 
version of Edward Perronet, then just en- 
tering upon his twenty-first year. This 
young man greatly delighted the "Wesleys 
by his Christian heroism and fidelity. 
But when later he became convinced that 
the Methodists ought to separate from the 
Church of England and make an inde- 
pendent ecclesiastical organization, and 
published a volume vigorously maintain- 
ing this position, the Wesleys were so 
greatly offended as to rebuke him severe- 
ly, which led him to organize an independ- 
ent congregation at Canterbury. He 
served this Church as its pastor until his 
death, though he and the Wesleys were 
later reconciled, visiting and counseling 
each other. Perronet is buried in the 
cloisters of the cathedral at Canterbury. 
His death, in 1792, the year after John 
Wesley died, was as triumphant as his 
conversion was joyous. His last words 

Glory to God in the height of his divinity ! 
Glory to God in the depth of his humanity ! 
Glory to God in his all-sufficiency ! 
Into His hand I commend my spirit. 

There are many interesting stories con- 
nected with the use of this hymn. We 
give place to two of them: 

An incident in the experience of Rev. E. P. 
Scott, a missionary in India, illustrates the 
power of this hymn and tune over even the 
worst and most dangerous of heathen tribes. 
He had gone, against the remonstrances of 
his friends, to take the gospel to one of the 
inland tribes noted for their murderous pro- 
clivities. He had no sooner arrived than he 
was met by a dozen pointed spears, and in- 
stant death seemed inevitable. While they 
paused a moment, he drew out his violin 
(with which he always accompanied his sa- 
cred songs), and, closing his eyes, began play- 
ing and singing this hymn. When he had fin- 
ished he opened his eyes to witness, as he 
thought, his own death at the point of their 
spears ; but to his joy he found that the spears 
had fallen and the murderers were all in 
tears. This song had saved him from death 
and opened an effectual door for preaching 
the gospel to them. He remained with them 
many years, doing a great work for them and 
other surrounding tribes, and finally died 
among them, beloved and venerated of the 
whole tribe. He often related this incident. 

Some fifty years ago a Wesleyan local 
preacher named William Dawson was preach- 
ing on one occasion in London on the Kingship 
of Christ. Though an eccentric and unlet- 
tered man, he had a vivid imagination and 
great power to sway an audience. On this 
occasion, in setting forth the kingly office of 
Christ, he undertook to draw a picture of his 
coronation among the saints and angels in 
heaven. The great procession of patriarchs 
and prophets, apostles and martyrs, saints 
and angels had been made to move grandly 
on and gather into the heavenly temple to 
witness the magnificent spectacle. Just at 
the point of intensest interest and excitement 
the preacher suddenly paused and began sing- 
ing with startling effect : 

"All hail the power of Jesus' name! 
Let angels prostrate fall ; 
Bring forth the royal diadem, 
And crown him Lord of all !" 

The effect, it is said, was overwhelming be- 
yond description. The audience sprang to 
their feet and sang the hymn with a feeling 
and power which seemed to swell higher and 
higher with every verse. This great "coro- 
nation hymn" seemed never to have been 
sung with such volume and such feeling be- 

No hymn has done more to inspire 
Christian congregations during the past 
century than this splendid lyric. 



C. M. 

COME, Holy Ghost, our hearts inspire, 
Let us thine influence prove ; 
Source of the old prophetic fire, 
Fountain of life and love. 

2 Come, Holy Ghost, for moved by thee 

The prophets wrote and spoke ; 
Unlock the truth, thyself the key, 
Unseal the sacred book. 

3 Expand thy wings, celestial Dove, 

Brood o'er our nature's night ; 
On our disordered spirits move, 
And let there now be light. 

4 God, through himself, we then shall know, 

If thou within us shine ; 
And sound, with all thy saints below, 
The depths of love divine. 

Charles Wesley. 

Title, "Before Reading the Scriptures." 
From Hymns and Sacred Poems, 1740. 

The author wrote "prolific Dove" in 
verse three, line one; otherwise it is un- 
altered and entire. It is one of Charles 
Wesley's best hymns. 

183 S. M. 

COME, Holy Spirit, come, 
With energy divine, 
And on this poor, benighted soul 
With beams of mercy shine. 

2 O melt this frozen heart, 

This stubborn will subdue, 
Each evil passion overcome, 
And form me all anew ! 

3 The profit will be mine ; 

But thine shall be the praise ; 
And unto thee will I devote 
The remnant of my days. 

Benjamin Beddome. 

"Invocation" is the title of this hymn 
in the tenth edition of Rippon's Selection, 
1800, where it was first published. It is 
also found in the author's posthumous vol- 
ume of Hymns, 1817. In the third stanza, 
line three, the author wrote "Cheerful to 

thee'' instead of "And unto thee." The 
second stanza of the original, omitted 
above, is: 

From the celestial hills 

Light, life, and joy dispense ; 

And may I daily, hourly feel 
Thy quickening influence. 

183 C. M. 

COME, Holy Spirit, heavenly Dove, 
With all thy quickening powers, 
Kindle a flame of sacred love 
In these cold hearts of ours. 

2 Look how we grovel here below, 

Fond of these earthly toys ; 
Our souls, how heavily they go, 
To reach eternal joys. 

3 In vain we tune our formal songs, 

In vain we strive to rise ; 
Hosannas languish on our tongues, 
And our devotion dies. 

4 And shall we then forever live 

At this poor dying rate? 
Our love so faint, so cold to thee, 
And thine to us so great ! 

5 Come, Holy Spirit, heavenly Dove, 

With all thy quickening powers ; 
Come, shed abroad a Saviour's love, 
And that shall kindle ours. 

Isaac Watts. 

Title, "Breathing After the Holy Spir- 
it; or, Fervency of Devotion Desired." 
From Hymns and Spiritual Songs, Book 
II., 1707. 

In the second line of the second stanza 
the author wrote "trifling toys." The 
third line of the second stanza was, as 
Watts wrote it: 

Our souls can neither fly nor go. 
Watts also began the fourth stanza: 
Dear Lord, and shall we ever live. 

The first two changes have been traced 
to George Whitefield's Collection. 1754. 
The last change was made by John Wes 



to the word "dear;' 
very particular. He 

ley. With regard 
John Wesley was 
never used it himself in reference to the 
Saviour, and he always substituted some 
other word for it in the hymns that he 
edited. He thought it was "using too 
much familiarity with the great Lord of 
heaven and earth." 

184 6, 6, 4, 6, 6, 6, 4. 

COME, Holy Ghost, in love, 
Shed on us from above 
Thine own bright ray ! 
Divinely good thou art ; 
Thy sacred gifts impart 
To gladden each sad heart ; 
O come to-day ! 

2 Come, tenderest Friend, and best, 
Our most delightful Guest/ 

With soothing power : 
Rest, which the weary know, 
Shade, 'mid the noontide glow, 
Peace, when deep griefs o'erflow, 

Cheer us, this hour ! 

S Come, Light serene, and still 
Our inmost bosoms fill, 

Dwell in each breast ; 
We know no dawn but thine, 
Send forth thy beams divine, 
On our dark souls to shine, 

And make us blest ! 

4 Come, all the faithful bless ; 
Let all who Christ confess 

His praise employ ; 
Give virtue's rich reward, 
Victorious death accord, 
And, with our glorious Lord, 

Eternal joy ! 
Robert II., King of France (?). 

Tr. by Ray Palmer. 

The date and authorship of this hymn 
are unknown. It has been most frequent- 
ly accredited to Robert II., who was King 
of Prance for thirty-five years (996-1031). 
It is said that he was accustomed to go 
to the Church of St. Denis in his crown 
and robes and direct the singing. He 
was a composer of music as well as of 
hymns. Dr. Dufneld, who has made a spe- 
cially careful and extensive study of the 
Latin hymns, pronounces in favor of 
Hermannus Contractus (1013-1054) as the 

author, while Dr. Julian contends that 
the preponderance of evidence is in favor 
of Pope Innocent III. 

Others have maintained that it was writ- 
ten by Stephen Langton, who was Arch- 
bishop of Canterbury 1207-1228. 

The following is the first stanza of the 
original Latin: 

Veni, Sancte Spiritus, 
Et emitte coelitus 

Lucis tuae radium. 
Veni, pater pauperum, 
Veni, dator munerum, 

Veni, lumen cordium. 

"The loveliest of all the hymns in the 
whole circle of Latin poetry," is what 
Archbishop Trench calls this hymn. "It 
could only have been composed by one 
who had been acquainted with many sor- 
rows and also with many consolations." 
Dean Stanley, whose translation of the 
hymn into English ranks among the best, 
speaks of it as "the most beautiful of all 
the Latin hymns." "It combines," says 
Julian, "a stately grace, a perfect rhyth- 
mic melody, and a faculty of saying just 
the right thing in just the fitting words, 
in such a measure as to disarm criti- 
cism and at once to defy comparison with 
any other hymn in any other language, 
and to make it almost impossible to pre- 
sent an adequate translation." 

There are no less than forty transla- 
tions of this hymn into English. It is no 
small compliment to Dr. Ray Palmer that 
the editors of this Hymnal should have 
given his translation the preference over 
all others. It was first published in the 
Sabbath Hymn Book, Andover, 1858. The 
fourth stanza of the original is omitted: 

Exalt our low desires ; 
Extinguish passion's fires ; 

Heal every wound : 
Our stubborn spirits bend, 
Ou A icy coldness end, 
Our devious steps attend, 

While heavenward bound. 





H ( 

OLY GHOST, with light divine, 

Shine upon this heart of mine; 
Chase the shades of night away, 
Turn my darkness into day. 

2 Holy Ghost, with power divine, 
Cleanse this guilty heart of mine; 
Long hath sin, without control, 
Held dominion o'er my soul. 

3 Holy Ghost, with joy divine, 
Cheer this saddened heart of mine ; 
Bid my many woes depart, 

Heal my wounded, bleeding heart. 

4 Holy Spirit, all divine, 

Dwell within this heart of mine ; 
Cast down every idol-throne, 
Reign supreme, and reign alone. 

Andrew Reed. 
Title, ''Prayer to the Spirit." From Dr. 

Reed's Collection, published in 1817. The 

original contains four double stanzas. 

This hymn is made up of the first half 

of each stanza without change. 

Good hymns addressed to the Holy 

Spirit are all too few. Some of the best 

that have been written are in this book; 

we hope they will come into frequent 

and joyful use. 

Notice the progress of the work of the 

Holy Spirit as given in this hymn: first. 

he illuminates; second, he cleanses; 

third, he cheers; and fourth, he dwells 

and reigns in the heart. It is happily 


186 C. 11 

T WORSHIP thee, O Holy Ghost, 
1 I love to worship thee ; 

My risen Lord for aye were lost 
But for thy company. 

2 I worship thee. O Holy Ghost. 

I love to worship thee ; 
I grieved thee long, alas ! thou know' si- 
lt grieves me bitterly. 

3 I worship thee. O Holy Ghost, 

I love to worship thee ; 
Thy patient love, at what a cost 
At last it conquered me ! 

4 1 worship thee, O Holy Ghost, 

I love to worship thee ; 
"With thee each day is Pentecost, 
Each night Nativity. 

William F. Warren. 

This simple but useful hymn, by one of 
the most honored divines of American 
Methodism, was contributed in 1877 to 
the Hymnal of the Methodist Episcopal 
Church at the special request of the edi- 
tors. As a hymn of adoration and love 
addressed to the Holy Spirit it meets a 
real need in our songs of public worship. 


L. M. 

FOR that flame of living fire, 

Which Sxione so bright in saints of old 
Which bade their souls to heaven aspire, 
Calm in distress, in danger bold. 

J Where is that Spirit, Lord, which dwelt 

In Abraham's breast, and sealed him 
Which made Paul's heart with sorrow melt, 

And glow with energy divine? 

3 That Spirit which, from age to ag^. 

Proclaimed thy love, and taught thy 
Brightened Isaiah's vivid page. 

And breathed in David's hallowed lays? 

4 Is not thy grace as mighty now 

As when Elijah felt its power ; 
When glory beamed from Moses' brow, 
Or Job endured the trying hour? 

5 Remember, Lord, the ancient days ; 

Renew thy work ; thy grace restore ; 
Warm our cold hearts to prayer and praise, 
And teach us how to love thee more. 

William H. Bathurst. 

Title, "For an Increase of Grace." It 
is from Psalms and Hymns for Public 
and Private Use, London, 1831. It is 
copied verbatim. 

The allusions to the prophets of old in 
this hymn are very happy, and the prayer 
of the last verse most appropriate. It is 
a comfort to the disciple to remember 
that the Master said: "Lo. I am with you 
alway, even unto the end of the world." 


L. M. 

SPIRIT of the living God ! 
In all thy plenitude of grace. 
Where'er the foot of man hath trod, 
Descend on our apostate race. 

2 Give tongues of fire and hearts of love 
To preach the reconciling word ; 



Give power and unction from above, 
Whene'er the joyful sound is heard. 

3 Be darkness, at thy coming, light ; 

Confusion, order, in thy path ; 
Souls without strength, inspire with might ; 
Bid mercy triumph over wrath. 

4 Baptize the nations ; far and nigh 

The triumphs of the cross record ; 
The name of Jesus glorify, 

Till every kindred call him Lord. 

James Montgomery. 

This hymn was written in 1823 for use 
at the public meeting of the Auxiliary 
Missionary Society for the West Riding 
of Yorkshire, to be sung in Salem Chap- 
el, Leeds, June 4, 1823, and was first 
printed as a leaflet for that meeting. It 
was published in the Evangelical Maga- 
zine for August, 1823, and later in the 
author's Christian Psalmist, 1825, where 
it bore the title, "The Spirit Accompany- 
ing the Word of God.'' As a hymn set- 
ting forth and emphasizing the relation 
of the Holy Spirit to the work of mis- 
sions it fills an important and useful 
place in our Hymnal. It is a prayer as 
well as a hymn. The fourth and sixth 
stanzas of the original have been omitted: 

O Spirit of the Lord ! prepare 

All the round earth her God to meet : 

Breathe Thou abroad like morning air, 
Till hearts of stone begin to beat. 

God from eternity hath willed 
All flesh shall his salvation see : 

So be the Father's love fulfilled, 

The Saviour's sufferings crowned through 

Compare this with Montgomery's other 
great missionary hymn beginning, "Hark! 
the song of jubilee," No. 646. 


8, 6, 8, 4. 

UR blest Redeemer, ere he breathed 

His tender last farewell, 
A Guide, a Comforter bequeathed, 
With us to dwell. 

2 He came in tongues of living flame, 
To teach, convince, subdue; 
All-powerful as the wind he came, 
As viewless, too. 

3 He comes, sweet influence to impart, 

A gracious, willing guest, 
While he can find one humble heart 
Wherein to rest. 

4 And his that gentle voice we hear, 

Soft as the breath of even, 
That checks each fault, that calms each 
And speaks of heaven. 

5 Spirit of purity and grace, 

Our weakness, pitying, see ; 
O make our hearts thy dwelling place, 
And worthier thee ! 

Harriet Auber. 

Title, "Whitsunday." It is from the 
author's Spirit of the Psalms, 1829. In 
the last hymn book of the Methodist 
Episcopal Church this was a common 
meter. It is here restored to its original 
form with the exception of one word — 
the author began the third verse the 
same as the second: "He came," etc. 
Two stanzas have been omitted: 

2 He came in semblance of a dove, 
With sheltering wings outspread ; 
The holy balm of peace and love 
On earth to shed. 

6 And every virtue we possess, 
And every victory won, 
And every thought of holiness, 
Are his alone. 

The hymn is sufficiently long without 
these fine stanzas, but they are well 
worth reading. 


C. M. 

SPIRIT Divine, attend our prayer, 
And make our hearts thy home ; 
Descend with all thy gracious power ; 
Come, Holy Spirit, come ! 

2 Come as the light : to us reveal 

Our sinfulness and woe ; 
And lead us in those paths of life 
Where all the righteous go. 

3 Come as the fire, and purge our hearts, 

Like sacrificial flame ; 
Let our whole soul an offering be 
To our Redeemer's name. 

4 Come as the wind, with rushing sound, 

With pentecostal grace ; 
And make the great salvation known 
Wide as the human race. 



5 Come as the dove, and spread thy wings, 
The wings of peaceful love : 
And let thy Church on earth become 
Blest as thy Church above. 

Andrew Reed. 

On February 10, 1829, the Board of 
Congregational Ministers resident in and 
about London recommended the appoint- 
ment of a special day of humiliation and 
prayer with a view to promoting by 
the divine blessing a revival of religion 
in the British Churches. Good Friday 
was set apart in obedience to this rec- 
ommendation as "the day appointed for 
solemn prayer." This hymn was pre- 
pared especially for that occasion. It 
was published in the Evangelical Maga- 
zine for June, 1829, with the following 
heading and explanatory note: "Hymn to 
the Spirit. Sung on the late day ap- 
pointed for solemn prayer and humilia- 
tion in the Eastern District of the me- 
tropolis." It was republished in the au- 
thor's Hymn Book, 1842. The fourth 
and seventh stanzas are omitted above: 

4 Come as the dew, and sweetly bless 
This consecrated hour ; 
May barrenness rejoice to own 
Thy fertilizing power. 

7 Spirit Divine, attend our prayers, 
Make a lost world thy home ; 
Descend with all thy gracious powers : 
O come, Great Spirit, come ! 

The original of verse one is: 

Spirit Divine, attend our prayers, 
And make this house thy home ; 

Descend with all thy gracious poicers : 
O come, Great Spirit, come. 

In verse two the author wrote "empti- 
ness" instead of "sinfulness." In the third 
and fourth lines of verse four he wrote: 

That all of woman born may see 
The glory of thy face. 

Verses four and five are transposed in 
the hymn as given above. It will be seen 
that the author here makes the various 
Scripture symbols of the Spirit the 
themes of the successive stanzas of this 

hymn — light, fire, wind, dew, dove — just 
as in his other hymn found in this volume 
(No. 185) he devotes the successive stan- 
zas to other more spiritual symbols of the 
Spirit — light, power, joy, etc. It is in- 
teresting to know that two of our very 
best and most useful hymns on the Holy 
Spirit should have been written by a 
man whose life was crowded with phi- 
lanthopic and self-sacrificing services to 
his fellow-man. Dr. Reed is best known 
in England as the founder of "The Lon- 
don Orphan Asylum," "The Asylum for 
Fatherless Children," "The Asylum for 
Idiots," "The Infant Orphan Asylum," 
and "The Hospital for Incurables." The 
inspiration of these two useful hymns 
and of his noble life work is to be found 
in that personal acquaintance with the 
Holy Spirit and that constant dependence 
upon him for divine guidance that was 
a marked characteristic of the author's 


S. M. D. 

SPIRIT of faith, come down, 
Reveal the things of God ; • 

And make to us the Godhead known, 

And witness with the blood. 
'Tis thine the blood to apply, 

And give us eyes to see, 

Who did for every sinner die, 

Hath surely died for me. 

2 Xo man can truly say 

That Jesus is the Lord, 
Unless thou take the veil away, 

And breathe the living word. 
Then, only then, we feel 

Our interest in his blood, 
And cry, with joy unspeakable, 

"Thou art my Lord, my God !" 

3 O that the world might know 

The all-atoning Lamb ! 
Spirit of faith, descend, and show 

The virtue of his name. 
The grace which all may find, 

The saving power, impart ; 
And testify to all mankind, 

And speak in every heart. 

Charles Wesley. 

From a pamphlet containing thirty- 



two hymns, entitled Hymns of Petition 
and Thanksgiving for the Promise of the 
Father. By the Rev. John and Mr. Charles 
Wesley, Bristol, 1746. 

One word has been changed: the au- 
thor wrote "great atoning" in verse three, 
line two. The third and fifth stanzas, 
omitted above, are: 

3 I know my Saviour lives, 

He lives, who died for me, 
My inmost soul His voice receives 

Who hangs on yonder tree : 
Set forth before my eyes 

Even now I see Him bleed, 
And hear His mortal groans and cries, 

While suffering in my stead. 

5 Inspire the living faith, 

Which whosoe'er receives, 
The witness in himself he hath, 

And consciously believes ; 
The faith that conquers all, 

And doth the mountain move, 
And saves whoe'er on Jesus call, 

And perfects them in love. 

The "promise of the Father" was the 
baptism with the Holy Spirit. (Acts i. 
4, 5.) The Wesleys taught that this 
baptism was the high privilege of every 


8s, 7s. D. 


OLY Ghost, dispel our sadness ; 

Pierce the clouds of nature's night ; 
Come, thou Source of joy and gladness, 

Breathe thy life, and spread thy light : 
From the height which knows no measure, 

As a gracious shower descend, 

Bringing down the richest treasure 

Man can wish, or God can send. 

2 Author of the new creation, 

Come with unction and with power : 
Make our hearts thy habitation ; 

On our souls thy graces shower : 
Hear, O hear our supplication, 

Blessed Spirit, God of peace ! 
Rest upon this congregation, 
With the fullness of thy grace. 

Paul Gerhardt. 
Tr. by John C. Jacobi. Alt. 

The German original of this hymn was 
first published in 1648 in ten stanzas of 
eight lines each. Jacobi translated this 

into English about 1725, and published it 
in his Psalmodia Germanica. Out of these 
ten stanzas Toplady made a hymn of 
six stanzas and published them in the 
Gospel Magazine for June, 1776. Top- 
lady's revision has been abridged and 
otherwise altered to make the two stan- 
zas here given. Many hands, therefore, 
have had a part in making the above 

193 7s D. 

HOLY Spirit, faithful Guide, 
Ever near the Christian's side ; 
Gently lead us by the hand, 
Pilgrims in a desert land ; 
Weary souls fore'er rejoice, 
While they hear that sweetest voice, 
Whispering softly, "Wanderer, come ! 
Follow me, I'll guide thee home." 

2 Ever present, truest Friend, 
Ever near thine aid to lend, 
Leave us not to doubt and fear, 
Groping on in darkness drear ; 
When the storms are raging sore, 
Hearts grow faint, and hopes give o'er, 
Whisper softly, "Wanderer, come ! 
Follow me, I'll guide thee home." 

3 When our days of toil shall cease, 
Waiting still for sweet release, 
Nothing left but heaven and prayer, 
Wondering if our names were there ; 
Wading deep the dismal flood, 
Pleading naught but Jesus' blood, 
Whisper softly, "Wanderer, come ! 
Follow me, I'll guide thee home." 

Marcus M. Wells. 

Text, "I will guide thee with mine 
eye." (Psalm xxxii. 8.) This is found 
in Gospel Hymns No. 1 (1875). The date 
of the hymn is given as 1858. 

The early history of this hymn is some- 
what obscure. It is found in the Sacred 
Lute, edited by T. E. Perkins and pub- 
lished in Boston by Oliver Ditson and 
Company, date not given, but copyrighted 
in 1864. In the prayer meeting depart- 
ment, on page 373, we find this hymn 
and tune entitled, "The Christian Guide." 
Words and music by M. M. Wells. The 
tune is well suited to the words. 




L. M. 61. 

CREATOR, Spirit ! by whose aid 
The world's foundations first were 
Come, visit every pious mind, 
Come, pour thy joys on humankind : 
From sin and sorrow set us free, 
And make thy temples worthy thee. 

2 O Source of uncreated light, 
The Father's promised Paraclete ! 
Thrice holy Fount, thrice holy Fire, 
Our hearts with heavenly love inspire 
Come, and thy sacred unction bring - , 
To sanctify us while we sing. 


3 Plenteous of grace, descend from high, 
Rich in thy sevenfold energy ! 
Thou Strength of His almighty hand, 
Whose power does heaven and earth com- 
Refine and purge our earthly parts, 
But O, inflame and fire our hearts ! 

Rabanus Maurns. 
Tr. by John Dryden. 

This hymn has been variously attrib- 
uted to Charlemagne, St. Ambrose, Greg- 
ory the Great, and Rabanus Maurus, the 
preponderance of testimony being in fa- 
vor of the last named. It is one of the 
most famous and historic hymns of the 
Christian Church, and has taken a deeper 
hold upon the devotions and life of the 
Church than any other hymn of mediaeval 
origin except the Te Deum. The singing 
of this hymn in mediaeval times was made 
an occasion of great importance, and was 
attended by pompous ceremonials. 

The most elaborate preparations were 
made, the best vestments were donned by 
all ecclesiastics taking part in the serv- 
ices, bells were rung, the churches were 
illuminated with more than ordinary 
brightness, and the air was laden with 
incense. Its use was invested with al- 
most superstitious significance. "Who- 
ever repeats this hymn by day or night," 
the monks said, "no enemy, visible or in- 
visible, shall assail him." 

There have been more than fifty trans- 
lations of this hymn into English. The 
translation by Dryden in seven stanzas of 
unequal length, making altogether thirty- 

nine lines, was published in his Miscel- 
laneous Poems. 1693. John Wesley was 
the first to adapt Dryden's translation to 
public worship. He abbreviated it and 
published it in his Psalms and Hymns, 

This hymn has found a place in the 
ritual of many Churches, and is nsed at 
the coronation of kings and popes and 
the ordination of bishops and elders. 
The translation used in our ordination 
service for elders and bishops is by John 
Cosin (1594-1672), Bishop of Durham. 
It begins: 

Come, Holy Ghost, our souls inspire, 
And lighten with celestial fire. 
Thou the anointing Spirit art, 
Who dost thy sevenfold gifts impart. 
Thy blessed unction from above 
Is comfort, life, and fire of love. 

The following is the first verse of the 
original in Latin: 

Yeni, Creator Spiritus, 
Mentes tuorum visit a, 
Imple superna gratia 
Quae tu creati pectora. 

7s. 61. 


GRACIOUS Spirit, dwell with me ! 
I myself would gracious be, 
And, with words that help and heal, 
Would thy life in mine reveal ; 
And with actions bold and meek, 
Would for Christ my Saviour speak. 

2 Truthful Spirit, dwell with me! 
I myself would truthful be ; 
And, with wisdom kind and clear, 
Let thy life in mine appear ; 
And, with actions brotherly, 
Speak my Lord's sincerity. 

3 Tender Spirit, dwell with me ! 
I myself would tender be ; 
Shut my heart up like a flower 
In temptation's darksome hour, 
Open it when shines the sun, 
And his love by fragrance own. 

4 Mighty Spirit, dwell with me ! 
I myself would mighty be ; 
Mighty so as to prevail, 
Where unaided man must fail ; 
Ever, by a mighty hope, 
Pressing on and bearing up. 



5 Holy Spirit, dwell with me ! 
I myself would holy be : 
Separate from sin, I would 
Choose and cherish all things good ; 
And whatever I can be 
Give to him who gave me thee. 

Thomas T. Lynch. 

From an English book entitled, The 
Rivulet: A Contribution to Sacred Song, 
1855. One stanza is omitted. 

One thing can be truthfully said of this 
hymn: it is unlike any other ever writ- 
ten. People who object to individualities 
in worship will not like this hymn. It is 
subjective to the last degree. It is very 
suitable for private use. 


S. M. 

BREATHE on me, Breath of God, 
Fill me with life anew,, 
That I may love what thou dost love, 
And do what thou wouldst do. 

2 Breathe on me, Breath of God, 

Until my heart is pure, 
Until with thee I will one will, 
To do or to endure. 

3 Breathe on me, Breath of God, 

Till I am wholly thine, 
Till all this earthly part of me 
Glows with thy fare divine. 

4 Breathe on me, Breath of God, 

So shall I never die, 
But live with thee the perfect life 
Of thine eternity. 

Edwin Hatch. 

This was first published in Henry Al- 
ton's Congregational Psalmist Hymnal, 
London, 1886, and later in the author's 
posthumous volume titled Towards Fields 
of Light, London, 1890. "A delightful 
hymn to the Holy Spirit, an earnest 
prayer for greater consecration of life." 

Dr. Hatch was the Bampton Lecturer 
at Oxford in 1880. Among the most beau- 
tiful verses found in his Towards Fields 
of Light are the following on heaven: 

Some seek a Heaven of rest, 
And some an ample sphere 

For doing work they cannot do 
While they are prisoned here. 

Some seek a Heaven of song, 
And others fain would rise 

From an articulate utterance 
To silent ecstasies. 

Some seek a home in Heaven, 
And some would pray to be 

Alone with God, beyond the reach 
Of other company. 

But in God's perfect Heaven, 

All aspirations meet, 
Each separate longing is fulfilled, 

Each separate soul complete. 

197 ' 10s. 

SPIRIT of God ! descend upon my heart ; 
Wean it from earth, through all its 
pulses move ; 
Stoop to my weakness, mighty as thou art, 
And make me love thee as I ought to 

2 I ask no dream, no prophet ecstasies, 

No sudden rending of the veil of clay, 
No angel visitant, no opening skies ; 

But take the dimness of my soul away. 

3 Hast thou not bid us love thee, God and 

All, all thine own, soul, heart and 

strength and mind ; 
I see thy cross ; there teach my heart to 

O let me seek thee, and O let me find ! 

4 Teach me to feel that thou art always 

nigh ; 
Teach me the struggles of the soul to 

To check the rising doubt, the rebel sigh ; 
Teach me the patience of unanswered 


5 Teach me to love thee as thine angels love, 

One holy passion filling all my frame ; 
The kindling of the heaven-descended Dove, 
My heart an altar, and thy love the flame. 
George Croly. 

Text, "If we live in the Spirit, let us 
also walk in the Spirit." From Psalms 
and Hymns for Public Worship. Written 
and compiled by the Rev. George Croly, 
LL.D., London, 1854. 


198 C. m. 

A GLORY gilds the sacred page, 
Majestic like the sun ; 
It gives a light to every age, 
It gives, but borrows none. 

2 The hand that gave it still supplies 

The gracious light and heat : 
His truths upon the nations rise ; 
Tiny rise, but never set. 

3 Let everlasting thanks .be thine 

For such a bright display, 
As makes a world of darkness shine 
With beams of heavenly day. 

4 My soul rejoices to pursue 

The steps of him I love, 
Till glory breaks upon my view 
In brighter worlds above. 

William Cowper. 

"The Light and Glory of the Word" is 
the title of this hymn in the Olney Col- 
lection. 1779, where it has five stanzas, 
the first being omitted here. This hymn, 
like most of the others "written by Cow- 
per, was the outgrowth of an actual ex- 
perience. He dated his conversion in 
July, 1764, when in the St. Alban's Asy- 
lum his eyes one day fell upon Romans 
iii. 24, "Being justified freely by his 
grace," etc., the Spirit breathed upon the 
Word and brought its saving truth sensi- 
bly to his sight. "In a moment," says 
he, "I believed and I received the gospel." 
The omitted stanza is: 

The Spirit breathes upon the word, 
And brings the truth to sight ; 

Precepts and promises afford 
A sanctifying light. 


L. M. 


POX the gospel's sacred page 

The gathered beams of ages shine ; 

And, as it hastens, every age 

But makes its brightness more divine. 

2 On mightier wing, in loftier flight, 

From year to year does knowledge soar ; 

And, as it soars, the gospel light 
Becomes effulgent more and more. 

3 More glorious still, as centuries roll, 

New regions blest, new powers un- 
Expanding with the expanding soul, 
Its radiance shall o'erflow the world, — 

4 Flow to restore, but not destroy ; 

As when the cloudless lamp of day 
Pours out its floods of light and joy, 
And sweeps the lingering mists away. 
John Boicring. 

Title, "Progress of Gospel Truth." From 
the author's Matins and Vespers, Lon- 
don, 1823. In the last line of the second 
stanza the author wrote: 

Adds to its influence more and more. 
And in the last line of the third verse: 

Its waters shall o'erflow the world. 

One stanza, the third, is omitted: 

Truth, strengthened by the strength of 

Pours inexhaustible supplies, 
Whence sagest teachers may be taught, 

And wisdom's self become more wise. 

In his preface the author says: "These 
hymns were not written in the pursuit 
of fame or literary triumph. ... I 
have not sought to be original; to be 
useful is my first ambition; that ob- 
tained. I am indifferent to the rest." 


7s, 6s. D. 

WORD of God incarnate, 

O Wisdom from on high, 
O Truth unchanged, unchanging, 

O Light of our dark sky ; 
We praise thee for the radiance 
That from the hallowed page, 
A lantern to our footsteps, 
Shines on from age to age. 

The Church from thee, her Master, 
Received the gift divine, 



And still that light she lifteth 
Oer all the earth to shine. 

It is the golden casket 

Where gems of truth are stored ; 

It is the heaven-drawn picture 
Of thee, the living Word. 

3 It floateth like a banner 

Before God's host unfurled ; 
It shineth like a beacon 

Above the darkling world ; 
It is the chart and compass 

That, o'er life's surging sea, 
'Mid mists, and rocks, and quicksands, 

Still guides, O Christ, to thee. 

4 O make thy Church, dear Saviour, 

A lamp of burnished gold, 
To bear before the nations 

Thy true light, as of old ; 
O teach thy wand'ring pilgrims 

By this their path to trace, 
Till, clouds and darkness ended, 

They see thee face to face. 

William W. How. 

Written for the 1867 Supplement to 
Morrell and How's Psalms and Hymns. 
This noble hymn, addressed to the Word 
of God, tfie incarnate Christ, sets forth 
in lofty and fitting terms the value of the 
Word of God as revealed in and through 
the written page, and the duty of the 
Church to carry the light of God's Word, 
both as incarnate and as written, to all 
men and nations that sit in darkness. 

Few, if any, definitions of the real and 
true minister of the gospel ever given 
have surpassed that given by the author 
in the following quotation, and those 
who knew him best said that in writing 
thus he was unconsciously describing 
himself as others saw him: 

A man pure, holy, and spotless in his life ; 
a man of much prayer ; in character meek, 
lowly, and infinitely compassionate ; of ten- 
derest love to all ; full of sympathy for every 
pain and sorrow, and devoting his days and 
nights to lightening the burdens of humani- 
ty ; utterly patient of insult and enmity ; ut- 
terly fearless in speaking the truth and re- 
buking sin ; ever ready to answer every call, 
to go wherever bidden in order to do good ; 
wholly without thought of self ; making him- 
self the servant of all ; patient, gentle, and 
untiring in dealing with the souls he would 

save; bearing with ignorance, willfulness, 
slowness, cowardice in those of whom he ex- 
pects most ; sacrificing all, even life itself, 
if need be, to save some. 

Few honors can come to a hymn writer 
greater than that which came to Bishop 
How in 1897, when he was selected to 
write the national hymn to be sung in all 
worshiping assemblies throughout the 
British Empire on the occasion of the 
celebration of the sixtieth anniversary 
of Queen Victoria's accession to the 
throne of England. It is worthy to be 
quoted here in full: 

O King of kings, whose reign of old 

Hath been from everlasting, 
Before whose throne their crowns of gold 

The white-robed saints are casting : 
While all the shining courts on high 

With angel songs are ringing, 
O let Thy children venture nigh, 

Their lovely homage bringing. 

For every heart, made glad by Thee, 

With thankful praise is swelling; 
And every tongue, with joy set free, 

The happy theme is telling. 
Thou hast been mindful of Thine own, 

And lo ! we come confessing 
'Tis thou hast dowered our queenly throne 

With sixty years of blessing. 

O royal heart, with wide embrace 

For all her children yearning ! 
O happy realm, such mother-grace 

With loyal love returning ! 
Where England's flag flies wide unfurled, 

All tyrant wrongs repelling, 
God make the world a better world 

For man's brief earthly dwelling. 

Lead on, O Lord, thy people still, 

New grace and wisdom giving, 
To larger love, and purer will, 

And nobler heights of living. 
And, while of all Thy love below 

They chant the gracious story, 
O teach them first Thy Christ to know, 

And magnify His glory. 


C. M. 


OW precious is the book divine, 

By inspiration given ! 
Bright as a lamp its doctrines shine, 
To guide our souls to heaven. 

2 It sweetly cheers our drooping hearts, 
In this dark vale of tears; 



Life, light, and joy it still imparts, 
And quells our rising fears. 

3 This lamp, through all the tedious night 
Of life, shall guide our way, 
Till we behold the clearer light 
Of an eternal day. 

John Fawcett. 

"Thy word is a lamp unto my feet, and 
a light unto my path." (Ps. cxix. 105.) 

The original has six stanzas. These 
are verses one, five, and six, unaltered. 

From Hymns Adapted to the Circum- 
stances of Public Worship and Private 
Devotion, by John Fawcett, 1782. 

The enemies of the Bible claim that it 
is obsolete; but new and large editions 
are sold every year, new translations into 
other languages are being made, and Bi- 
ble societies were never so busy and so 
useful as at the present time. 


L. M. 

THE heavens declare thy glory, Lord; 
In every star thy wisdom shines ; 
But when our eyes behold thy word, 
We read thy name in fairer lines. 

2 The rolling sun, the changing light, 

And nights and days, thy power confess ; 
But the blest volume thou hast writ 
Reveals thy justice and thy grace. 

3 Sun, moon, and stars convey thy praise 

Round the whole earth, and never stand : 
So when thy truth began its race, 

It touched and glanced on every land. 

4 Nor shall thy spreading gospel rest 

Till through the world thy truth has run ; 
Till Christ has all the nations blessed 
That see the light, or feel the sun. 

5 Great Sun of righteousness, arise, 

Bless the dark world with heavenly light ; 
Thy gospel makes the simple wise, 

Thy laws are pure, thy judgments right. 

6 Thy noblest wonders here we view, 

In souls renewed and sins forgiven : 
Lord, cleanse my sins, my soul renew, 
And make thy word my guide to heaven. 
Isaac Watts. 

"The Books of Nature and of Scripture 
Compared; or, The Glory and Success of 
the Gospel" is the title which this hymn 
bears in the author's Psalms of David, 

1719. It is based on certain verses found 
in the nineteenth Psalm: 

The heavens declare the glcry of God ; and 
the firmament showeth his handiwork. Day 
unto day uttereth speech, and night unto 
night showeth knowledge. There is no speech 
nor language, where their voice is not heard. 
Their line is gone out through all the earth, 
and their words to the end of the world. In 
them hath he set a tabernacle for the sun, 
which is as a bridegroom coming out of his 
chamber, and rejoiceth as a strong man to 
run a race. 

Compare with Dr. Watts Sir Philip Sid- 
ney's quaint rendering of this Psalm: 

The heavenly frame sets forth the fame 

Of Him that only thunders ; 
The firmament, so strangely bent, 

Shows His hand Working wonders. 
Day unto day doth it display, 

Their course doth it acknowledge ; 
And night to night succeeding right 

In darkness teach clear knowledge. 

There is no speech, nor language, which 

Is so of skill bereaved, 
But of the skies the teaching cries 

They have heard and conceited. 
There be no eyne, but read the line 

From so fair book proceeding ; 
Their words be set in letters great 

For everybody's reading. 

203 l. m. 

THE starry firmament on high, 
And all the glories of the sky, 
Yet shine not to thy praise, O Lord, 
So brightly as thy written word. 

2 The hopes that holy word supplies, 
Its truths divine and precepts wise, 
In each a heavenly beam I see, 
And every beam conducts to thee. 

3 Almighty Lord, the sun shall fail, 
The moon forget her nightly tale, 
And deepest silence hush on high 
The radiant chorus of the sky ; 

4 But fixed for everlasting years, 
Unmoved amid the wreck of spheres, 
Thy word shall shine in cloudless day, 
When heaven and earth have passed away. 

Robert Grant. 

Founded on Psalm xix. It is intended 
as a sequel or counterpart to Addison's 
well-known hymn, "The Spacious Firma- 



ment on High" (No. 84), and it is in no 
wise inferior to that wonderful hymn. 

From Sacred Poems, 1839. The orig- 
inal contains four double stanzas. This 
hymn is made up of the first and last, 
verbatim. The omitted verses are good, 
but they are not equal to these. 


C. M. 


OW shall the young secure their hearts, 
And guard their lives from sin? 

Thy word the choicest rule imparts, 
To keep the conscience clean. 

2 When once it enters to the mind, 

It spreads such light abroad, 
The meanest souls instruction find, 
And raise their thoughts to God. 

3 'Tis like the sun, a heavenly light, 

That guides us all the day ; 
And, through the dangers of the night, 
A lamp to lead our way. 

4 Thy word is everlasting truth ; 

How pure is every page ! 
That holy book shall guide our youth, 
And well support our age. 

Isaac Watts. 

''Instruction from Scripture" is the au- 
thor's title to this hymn in his Psalms of 
David, 1719. His metrical version of the 
one hundred and nineteenth Psalm is di- 
vided into eighteen "Parts." This is from 
the fourth part, which contains eight 
stanzas, being verses one, two, three, and 
eight. It is based more especially upon 
the ninth verse of the Psalm: ''Where- 
withal shall a young man cleanse his way? 
By taking heed thereto according to thy 

205 C. m. 

LAMP of our feet, whereby we trace 
Our path when wont to stray ; 
Stream from the fount of heavenly grace, 
Brook by the traveler's way ; 

2 Bread of our souls, whereon we feed, 

True manna from on high ; 
Our guide and chart, wherein we read 
Of realms beyond the sky ; 

3 Word of the everlasting God, 

Will of his glorious Son ; 
Without thee how could earth be trod, 
Or heaven itself be won? 

4 Lord, grant us all aright to learn 
The wisdom it imparts ; 
And to its heavenly teaching turn, 
With simple, childlike hearts. 

Bernard Barton. 

Title: ''Holy Scriptures." Published in 
The Reliquary, 1836. The original has 
eleven stanzas. These are one, two, nine, 
and eleven with slight changes. 

Good hymns upon the Bible are rare. 
This is one of the best, and is widely 

206 6 > 6 , 4 - 6 , 6 > 6 > 4 - 

LORD of all power and might, 
Father of love and light, 
Speed on thy word ! 
O let the gospel sound 
All the wide world around, 
Wherever man is found ! 
God speed his word ! 

2 Hail, blessed Jubilee! 
Thine, Lord, the glory be ; 

Hallelujah ! 
Thine was the mighty plan ; 
From thee the work began ; 
Away with praise of man ! 

Glory to God ! 

3 Lo, what embattled foes, 
Stern in their hate, oppose 

God's holy word ! 
One for his truth we stand, 
Strong in his own right hand, 
Firm as a martyr band : 

God shield his word ! 

4 Onward shall be our course, 
Despite of fraud or force ; 

God is before. 
His words erelong shall run 
Free as the noonday sun ; 
His purpose must be done : 

God bless his word ! 

Hugh Stowell. 

This was written for the jubilee of the 
British and Foreign Bible Society, March 
7, 1853, and is found in the posthumous 
volume of the author's Hymns, 1868, 
which were published three years after 
his death. He is more generally known 
in America as the author of the hymn 
beginning, "From every stormy wind that 



7s, 6s. D. 

THE Church's one foundation 
Is Jesus Christ her Lord ; 
She is his new creation 

By water and the word : 
From heaven he came and sought her 

To be his holy bride ; 
With his own blood he bought her, 
And for her life he died. 

2 Elect from every nation, 

Yet one o'er all the earth, 
Her charter of salvation, 

One Lord, one faith, one birth ; 
One holy name she blesses, 

Partakes one holy food, 
And to one hope she presses, 

With every grace endued. 

3 'Mid toil and tribulation, 

And tumult of her war, 
She waits the consummation 

Of peace for evermore ; 
Till, with the vision glorious, 

Her longing eyes are blest, 
And the great Church victorious 

Shall be the Church at rest. 

4 Yet she on earth hath union 

With God the Three in One, 
And mystic sweet communion 

With those whose rest is won : 
O happy ones and holy ! 

Lord, give us grace that we, 
Like them, the meek and lowly, 

On high may dwell with thee. 

Samuel J. Stone. 

Title: "The Holy Catholic Church:' 
First written in 1866. It was revised by 
the author for Hymns Ancient and Mod- 
ern, 1868. The third stanza of the 1868 
version, omitted here, is as follows: 

Though with a scornful wonder 

Men see her sore opprest, 
By schisms rent asunder, 

By heresies distrest, 
Yet saints their watch are keeping, 

Their cry goes up, "How long?" 
And soon the night of weeping 

Shall be the morn of song. 

A fine poem and truly worthy of a 
place in this Hymnal. It honors the 
Church of Christ and longs for its pros- 


S. M. 

I LOVE thy kingdom, Lord, 
The house of thine abode, 
The Church our blest Redeemer saved 
With his own precious blood. 

2 I love thy Church, O God ! 

Her walls before thee stand, 
Dear as the apple of thine eye, 
And graven on thy hand. 

3 For her my tears shall fall ; 

For her my prayers ascend ; 
To her my oares and toils be given, 
Till toils and cares shall end. 

4 Beyond my highest joy 

I prize her heavenly ways, 
Her sweet communion, solemn vows, 
Her hymns of love and praise. 

5 Sure as thy truth shall last, 

To Zion shall be given 
The brightest glories earth can yield, 
And brighter bliss of heaven. 

Timothy D wight. 

This is the most popular of all our 
hymns on the Church. It first appeared 
in the author's edition of Watts's Psalms, 
1800, under the title, "Love to the Church." 
It is there entered as part third to Psalm 
cxxxvii., being based more particularly 
on the fifth and sixth verses: "If I for- 
get thee, O Jerusalem, let my right hand 
forget her cunning. If I do not remem- 
ber thee, let my tongue cleave to the 
roof of my mouth; if I prefer not Jeru- 
salem above my chief joy." Three stan- 
zas have been omitted: 

3 If e'er to bless her sons 
My voice or hands deny, 
These iiands let useful skill forsake, 
This voice in silence die. 



4 If e'er my heart forget 

Her welfare, or her woe, 
Let every joy this heart forsake, 
And every grief o'erfiow. 

7 Jesus, thou Friend divine, 
Our Saviour and our King, 
Thy hand from every snare and foe 
Shall great deliverance bring. 

A growing spirit of Christian fraternity 
and cooperation among different Churches 
is one of the most notable and healthful 
signs of our times. Nothing has perhaps 
done so much to bring this about as the 
singing of such hymns as this. It is one 
of those matchless and imperishable 
lyrics of Christian love the singing of 
which by countless thousands in all 
Churches the world over is not only doing 
much to increase genuine Christian fel- 
lowship, but is preparing the way for 
that larger and more perfect Christian 
unity for which many are praying as one 
of the most manifest and imperative needs 
of our day. 


C. M. 

CITY of God, how broad and far 
Outspread thy walls sublime ! 
The true thy chartered freemen are, 
Of every age and clime. 

2 One holy Church, one army strong, 

One steadfast high intent, 
One working band, one harvest song, 
One King omnipotent ! 

3 How purely hath thy speech come down 

From man's primeval youth ! 
How grandly hath thine empire grown 
Of freedom, love, and truth ! 

4 How gleam thy watch fires through the 

With never-fainting ray ! 
How rise thy towers, serene and bright, 
To meet the dawning day ! 

5 In vain the surge's angry shock, 

In vain the drifting sands ; 
Unharmed upon the eternal Rock, 
The eternal city stands. 

Samuel Johnson. 

Author's title, "The City of God." Mr. 
Johnson was one of the editors of Hymns 
of the Spirit, Boston, 1864, and contrib- 

uted this hymn to that work. It is un- 
altered and entire. The unity, strength, 
and immutability of God's Church are 
well illustrated in this fine poem. 

210 8s, 7s. D. 

GLORIOUS things of thee are spoken, 
Zion, city of our God ; 
He whose word cannot be broken 
Formed thee for his own abode. 
On the Rock of Ages founded, 

What can shake thy sure repose? 
With salvation's wall surrounded, 
Thou may'st smile at all thy foes. 

2 See ! the streams of living waters, 

Springing from eternal love, 
Well supply thy sons and daughters, 

And all fear of want remove : 
Who can faint while such a river 

Ever flows their thirst to assuage? 
Grace, which, like the Lord, the giver, 

Never fails from age to age. 

3 Round each habitation hovering, 

See the cloud and fire appear, 
For a glory and a covering, 

Showing that the Lord is near ! 
Glorious things of thee are spoken, 

Zion, city of our God ; 
He whose word cannot be broken 

Formed thee for his own abode. 

John Newton. 

From the Olney Hymns, 1779, where it 
bears the title "Zion; or, The City of 
God." It is one of Newton's best hymns, 
and, as Julian remarks, "It ranks with 
the first hymns in the language." It is 
full of optimism, and is prophetic of a 
glorious future for the Church of God. 
Only the first half of the five double stan- 
zas of the original are here given, verse 
three repeating at the close the first 
four lines of the hymn, by which repe- 
tition a better climax in poetic form and 
sentiment is secured for the hymn as 
thus abbreviated than was furnished by 
the following lines, with which the third 
stanza of the original closes: 

Thus deriving from their banner, 
Light by night and shade by day ; 

Safe they feed upon the manna, 

Which he gives them when they pray. 



There are two additional stanzas: 

4 Blest inhabitants of Zion, 

Washed In the Redeemer's blood ! 
Jesus, whom their souls rely on, 

Makes them kings and priests to God ; 
'Tis his love his people raises 

Over self to reign as kings ; 
And as priests, his solemn praises 

Each for a thank-off' ring brings. 
Saviour, if of Zion's city 

I through grace a member am ; 
Let the world deride or pity, 

I will glory in thy name : 
Fading is the worldling's pleasure, 

All his boasted pomp and show ; 
Solid joys and lasting treasure, 

None but Zion's children know. 

This hymn abounds in Scripture ref- 
erences, being based more particularly 
upon the following: "Glorious things are 
spoken of thee, O city of God" (Ps. lxxxvii. 
3) ; and, "Look upon Zion, the city of our 
solemnities: thine eyes shall see Jerusa- 
lem a quiet habitation, a tabernacle that 
shall not be taken down; not one of the 
stakes thereof shall ever be removed, nei- 
ther shall any of the cords thereof be 
broken. But there the glorious Lord will 
be unto us a place of broad rivers and 
streams: wherein shall go no galley with 
oars, neither shall gallant ship pass there- 
by." (Isa. xxxiii. 20, 21.) 


8s, 7s. D. 


EAR what God the Lord hath spoken : 
O my people, faint and few, 
Comfortless, afflicted, broken, 

Fair abodes I build for you : 
Scenes of heartfelt tribulation 

Shall no more perplex your ways : 
You shall name your walls "Salvation," 
And your gates shall all be "Praise." 

2 There, like streams that feed the garden, 

Pleasures without end shall flow ; 
For the Lord, your faith rewarding, 

All his bounty shall bestow. 
Still in undisturbed possession, 

Peace and righteousness shall reign : 
Never shall you feel oppression, 

Hear the voice of war again. 

3 Ye no more your suns descending, 

Waning moons no more shall see ; 
But, your griefs forever ending, 
Find eternal noon in me : 

God shall rise, and, shining o'er you. 
Change to day the gloom of night : 

He, the Lord, shall be your glory, 
God your everlasting light. 

William Cowper. 

Title: "The Future Peace and Glory of 
the Church." It is founded upon Isaiah 
lx. 18-20: 

Violence shall no more be heard in thy 
land, wasting nor destruction within thy bor- 
ders ; but thou shalt call thy walls Salvation, 
and thy gates Praise. The sun shall be no 
more thy light by day ; neither for brightness 
shall the moon give light unto thee: but the 
Lord shall be unto thee an everlasting light, 
and thy God thy glory. Thy sun shall no 
more go down ; neither shall thy moon with- 
draw itself: for the Lord shall be thine ever- 
lasting light, and the days of thy mourning 
shall be ended. 

Instead of "Scenes," verse one, line 
five, some editions have "Themes" and 
some "Thorns." From Olney Hymns. 

212 8, 7, 8, 7, 4, 7. 

ZION stands with hills surrounded, 
Zion, kept by power divine : 
All her foes shall be confounded, 
Though the world in arms combine ; 

Happy Zion, 
What a favored lot is thine ! 

2 Every human tie may perish ; 

Friend to friend unfaithful prove ; 

Mothers cease their own to cherish ; 

Heaven and earth at last remove ; 

But no changes 
Can attend Jehovah's love. 

3 In the furnace God may prove thee, 

Thence to bring thee forth more bright, 
But can never cease to love thee ; 
Thou art precious in his sight : 

God is with thee, 
God, thine everlasting light. 

Thomas Kelly. 

This is taken from the 1806 edition of 
the author's Hymns on Various Passages 
of Scripture, where it bears as a title the 
words of Scripture upon which it is 
based: "As the Mountains Are Round 
About Jerusalem. So the Lord Is Round 
About His People from Henceforth Even 



Forever:' (Ps. cxxv. 2.) The omitted 
stanzas are: 

3 Zion's friend in nothing alters, 

Though all others may and do : 
His is love that never falters, 
Always to its object true. 

Happy Zion ! 
Crowned with mercies ever new. 

4 If thy God should show displeasure, 

'Tis to save, and not destroy : 
If he punish, 'tis in measure ; 
'Tis to rid thee of alloy. 

Be thou patient : 
Soon thy grief shall turn to joy. 

He gives us all things, and withholds 
No real Good from upright Souls. 

The rules of capitalization have been 
changed since the time of Dr. "Watts. 
A genuine hymn this, one of the au- 
! thor's best. 


L. M. 

GREAT God ! attend, while Zion sings 
The joy that from thy presence springs ; 
To spend one day with thee on earth 
Exceeds a thousand days of mirth. 

2 Might I enjoy the meanest place 
Within thy house, O God of grace, 

Nor tents of ease, nor thrones of power, 
Should tempt my feet to leave thy door. 

3 God is our sun, he makes our day : 
God is our shield, he guards our way 
From all the assaults of hell and sin, 
From foes without, and foes within. 

4 O God, our King, whose sovereign sway 
The glorious hosts of heaven obey, 
And devils at thy presence flee ; 

Blest is the man that trusts in thee. 

Isaac Watts. 

The original title to this grand old 
hymn is ''God and His Church; or, Grace 
and Glory" It is founded on the last 
part of Psalm lxxxiv.: 

O Lord God of hosts, hear my prayer : give 
ear, O God of Jacob. Selah. Behold, O God 
our shield, and look upon the face of thine 
anointed. For a day in thy courts is better 
than a thousand. I had rather be a doorkeep- 
er in the house of my God, than to dwell in 
the tents of wickedness. For the Lord God 
is a sun and shield : the Lord will give grace 
and glory : no good thing will he withhold 
from them that walk uprightly. O Lord of 
hosts, blessed is the man that trusteth in 

From the author's Psalms, 1719. One 
stanza, the fourth, has been omitted: 

All needful Grace will God bestow, 
And crown that Grace with Glorv too : 


C. M. 

WHERE are kings and empires now, 

Of old that went and came? 
But, Lord, thy Church is praying yet, 
A thousand years the same. 

2 We mark her goodly battlements 

And her foundations strong ; 
We hear within the solemn voice 
Of her unending song. 

3 For not like kingdoms of the world 

Thy holy Church, O God ! 
Though earthquake shocks are threatening 
And tempests are abroad ; 

4 Unshaken as eternal hills, 

Immovable she stands, 
A mountain that shall fill the earth, 
A house not made with hands. 

A. Cleveland Coxe. 

This is taken from a poem titled "Chel- 
sea," and first published in the Churchman 
in 1839. It is found also in the author's 
Christian Ballads, 1840. The original 
contains ten stanzas of eight lines each. 
The hymn here given is composed of the 
first half of the sixth stanza, the last half 
of the eighth, and the whole of the sev- 
enth. There have been several verbal al- 
terations, all of them being improvements 
upon the original, and rendered desirable, 
if not necessary, by the abbreviation of 
the hymn. 


L. M. 

HOW pleasant, how divinely fair, 
O Lord of hosts, thy dwellings are ! 
With strong desire my spirit faints 
To meet the assemblies of thy saints. 

2 Blest are the saints that sit on high, 
Around thy throne of majesty ; 

Thy brightest glories shine above, 
And all their work is praise and love. 

3 Blest are the souls that find a place 
Within the temple of thy grace : 



TTore they behold thy gentler rays, 

And seek thy lace, and learn thy praise. 

4 Cheerful they walk with growing strength, 
Till all shall meet in heaven at length, 
Till all before thy face appear, 
And join in nobler worship there. 

Isaac Watts. 

Title: -'The Pleasure of Public Wor- 
ship.'' Part of Psalm lxxxiv.: 

How amiable are thy tabernacles, O Lord 
of hosts ! 

My soul longeth, yea, even fainteth for the 
courts of the Lord : my heart and my flesh 
crieth out for the living God. 

There are seven stanzas in the au- 
thor's Psalms, 1719. These are verses 
one, four, five, and seven. 


L. M. 

ARM of the Lord, awake, awake ! 
Thine own immortal strength put on ! 
With terror clothed, hell's kingdom shake, 
* And cast thy foes with fury down. 

2 By death and hell pursued in vain, 

To thee the ransomed seed shall come ; 
Shouting, their heavenly Zion gain, 

And pass through death triumphant home. 

3 The pain of life shall then be o'er, 

The anguish and distracting care ; 
There sighing grief shall weep no more, 
And sin shall never enter there. 

4 Where pure, essential joy is found, 

The Lord's redeemed their heads shall 
With everlasting gladness crowned, 

And filled with love, and lost in praise. 
Charles Wesley. 

In the first edition of Hymns and Sa- 
cred Poems, 1739, this was the last hymn 
in the book. In this edition the third line 
of verse one had "the nations" instead of 
"hell's kingdom," which appeared first in 
the edition of 17S0. We have here the 
first and the last three stanzas of the 
original, which contains ten stanzas and 
is based on Isaiah li. 9-11: 

Awake, awake, put on strength, O arm of 
the Lord ; awake, as in the ancient days, in 
the generations of old. Art thou not it that 
hath cut Rahab, and wounded the dragon? 
Art thou not it which hath dried the sea, the 

waters of the great deep ; that hath made the 
depths of the sea a way for the ransomed to 
pass over? Therefore the redeemed of the 
Lord shall return, and come with singing unto 
Zion ; and everlasting joy shall be upon their 
head: they shall obtain gladness and joy; and 
sorrow and mourning shall flee away." 

The following incidents will show the 
large use made of this hymn by the early 

In her last illness Mrs. Benson, the wife of 
the noted commentator, and one of the saint- 
ly women of early Methodism, suffered much 
and long; but her joy and peace with God 
were unbroken. A short while before she 
died she asked her daughter to come to her 
bedside and read to her the last three verses 
of this hymn, beginning: "By death and hell 
pursued in vain." When the daughter had 
finished the reading, she exclaimed : "O what 
a blessed hymn ! Let me hear it again." She 
then gave them instructions to bury her be- 
hind City Road Chapel, and, bidding her hus- 
band and children good-by, she, 

"Shouting, her heavenly Zion gained, 
And passed through death triumphant home." 

Some time after this Mr. Benson was spend- 
ing a social evening with Rev. Jabez Bunt- 
ing, when, according to Mr. Bunting's testi- 
mony, he made the occasion memorable and 
deeply interested all present by reciting in a 
most impressive and feeling manner these 
same three verses that had cheered his wife in 
her dying hours. 

Tyerman, in his "Life of Fletcher," records 
an instance in the early history of Methodism 
when this song was sung with great power 
and effectiveness by an audience of ten thou- 
sand, who had been attracted to a meeting at 
Everton at which Fletcher, Berridge, Madan, 
Venn, and Lady Huntingdon were present. At 
the close of a three days' meeting, which was 
one of great spiritual power, the immense au- 
dience joined in singing "with the spirit and 
the understanding :" 

"Arm of the Lord, awake, awake ! 

Thine own immortal strength put on ! 
With terror clothed, hell's kingdom shake, 
And cast thy foes with fury down." 

"It was one of Charles Wesley's earliest com- 
positions," says the historian, "but never be- 
fore had so many persons unitedlj r sent up 
their prayers to heaven in these words." 



217 L. M. 

AWAKE, Jerusalem, awake ! 
No longer in thy sins lie down ; 
The garment of salvation take, 

Thy beauty and thy strength put on. 

2 Shake off the dust that blinds thy sight, 

And hides the promise from thine eyes ; 
Arise, and struggle into light, 

The great Deliverer calls, Arise ! 

3 Shake off the bands of sad despair ; 

Zion, assert thy liberty ; 
Look up, thy broken heart prepare, 
And God shall set the captive free. 

4 Vessels of mercy, sons of grace, 

Be purged from every sinful stain, 
Be like your Lord, his word embrace, 
Nor bear his hallowed name in vain. 
Charles Wesley. 

From a long hymn of three parts, thir- 
ty-two stanzas in all. These are verses 
one, three, and four of part one, and 
verse two of part three, verbatim. The 
whole is founded on Isaiah lii. 1: 
"Awake, awake; put on thy strength, 
Zion; put on thy beautiful garments, 
Jerusalem." From Hymns and Sacred 
Poems, 1742. 

218 L, M. 

GOD is the refuge of his saints, 
When storms of sharp distress invade ; 
Ere we can offer our complaints, 
Behold him present with his aid. 

2 Let mountains from their seats be hurled 

Down to the deep, and buried there ; 
Convulsions shake the solid world — 
Our faith shall never yield to fear. 

3 Loud may the troubled ocean roar, 

In sacred peace our souls abide ; 
While every nation, every shore, 

Trembles, and dreads the swelling tide. 

4 There is a stream, whose gentle flow 

Supplies the city of our God ; 
Life, love, and joy, still gliding through, 
And watering our divine abode. 

5 That sacred stream, thy holy word, 

Our grief allays, our fear controls ; 
Sweet peace thy promises afford, 
And give new strength to fainting souls. 
Isaac Watts. 

Author's title, "The Church's Safety 

and Triumph among National Desola- 
tions." First published in 1719 in the 
author's Psalms of David. It is based on 
the first five verses of the forty-sixth 

God is our refuge and strength, a very pres- 
ent help in trouble. Therefore will not we 
fear, though the earth be removed, and though 
the mountains be carried into the midst of 
the sea ; though the waters thereof roar and 
be troubled, though the mountains shake with 
the swelling thereof. There is a river, the 
streams whereof shall make glad the city of 
God, the holy place of the tabernacles of the 
Most High. God is in the midst of her; she 
shall not be moved : God shall help her, and 
that right early. 

In the second line of the fifth stanza 
Watts wrote: 

That all our raging fear controls. 

This was one of Dr. Dwight's improve- 
ments. One stanza is omitted: 

6 Zion enjoys her Monarch's love, 

Secure against a threat'ning hour ; 
Nor cap her firm foundations move, 

Built on his truth, and armed with power. 


7s, 6s. D. 

LORD of the living harvest 
That whitens o'er the plain, 
Where angels soon shall gather 
Their sheaves of golden grain ; 
Accept these hands to labor, 

These hearts to trust and love, 
And deign with them to hasten 
Thy kingdom from above. 

2 As laborers in thy vineyard, 

Send us, O Christ, to be 
Content to bear the burden 

Of weary days for thee ; 
We ask no other wages, 

When thou shalt call us home, 
But to have shared the travail 

Which makes thy kingdom come. 

3 Come down, thou Holy Spirit ! 

And fill our souls with light, 
Clothe us in spotless raiment, 

In linen clean and white ; 
Beside thy sacred altar 

Be with us, where we stand, 
To sanctify thy people 

Through all this happy land. 

John S. B. Monsell. 



Title: "An Ordination Hymn" The 
first stanza was written upon John iv. 35: 

Say not ye, There are yet four months, and 
then cometh harvest? behold, I say unto you, 
Lift up your eyes, and look on the fields ; for 
they are white already to harvest. 

The second stanza was founded on 
Matthew ix. 38: 

Pray ye therefore the Lord of the harvest, 
that he will send forth laborers into his har- 

The hymn closes w T ith this doxology: 

Be with us, God the Father, 

Be with us, God the Son, 
And God the Holy Spirit, 

O Blessed Three in One. 
Make us a royal priesthood, 

Thee rightly to adore ; 
And fill us with Thy fullness 

Now and for evermore. 

From Hymns of Love and Praise for 
the Church's Year, 1863. This is one of 
the most useful of modern consecration 
hymns. Consecration to service is the 
theme, love is the motive, and the glory 
of God is the end. 

220 L- m. 

JESUS, the truth and power divine, 
Send forth these messengers of thine ; 
Their hands confirm, their hearts inspire, 
And touch their lips with hallowed fire. 

2 Be thou their mouth and wisdom, Lord ; 
Thou, by the hammer of thy word, 
The rocky hearts in pieces break, 

And bid the sons of thunder speak. 

3 To those who would their Lord embrace, 
Give them to preach the word of grace ; 
Sweetly their yielding bosoms move, 
And melt them with the fire of love. 

4 Let all with thankful hearts confess 
Thy welcome messengers of peace ; 
Thy power in their report be found, 
And let thy feet behind them sound. 

Charles Wesley. 

This hymn is taken from the 1749 edi- J 
tion of Hymns and Sacred Poems, and 
bears the title, "For a Minister Going 
Forth to Preach.'" The only change in 
the hymn is of the singular to the plural, 

"these messengers" for "this messenger," 
and so uniformly throughout the hymn. 
It is often sung at the Annual Confer- 
ences of Methodism just before reading 
out the "appointments" of the preachers 
for the ensuing year. There are few 
scenes more impressive than that of a 
body of several hundred itinerant Metho- 
dist preachers awaiting their "marching 
orders" at the hands of the constituted 
authorities of the Church. Nor is there 
any better spiritual preparation for re- 
ceiving these "appointments" and inter- 
preting them as the call of God than to 
precede this closing event in the session 
of the Conference by singing a hymn 
like this. 


L. M. 


IGH on his everlasting throne, 
The King of saints his work surveys ; 
Marks the dear souls he calls his own, 
And smiles on the peculiar race. 

2 He rests well pleased their toils to see ; 

Beneath his easy yoke they move ; 
With all their heart and strength agree 
In the sweet labor of his love. 

3 See where the servants of their Lord, 

A busy multitude, appear ; 
For Jesus day and night employed, 
His heritage they toil to clear. 

4 Jesus their toil delighted sees, 

Their industry vouchsafes to crown ; 
He kindly gives the wished increase, 
And sends the promised blessing down. 

5 O -nultiply thy sower's seed, 

And fruit we every hour shall bear ; 
Throughout the world thy gospel spread. 
Thine everlasting truth declare ! 

Augustus G. Spangenberg. 

Tr. by John Wesley. 

Title: ''God's Husbandry." It is part of 
a poem of thirteen double stanzas which 
the author presented to Count Zinzendorf 
on his birthday in 1734. John Wesley 
published his translation of the whole 
hymn in Hymns and Sacred Poems, 1742. 
In verse three, line one, he wrote "God" 
instead of "Lord." 

This hvmn came into the Methodist 



Episcopal hymn book in one of the edi- 
tions of the Pocket Hymn Book between 
the ninth edition (1788) and the eight- 
eenth edition (1793). 


C. M. 


ESUS, the name high over all, 
In hell, or earth, or sky ! 

A.ngels and men before it fall, 
And devils fear and fly. 

2 Jesus, the name to sinners dear, 

The name to sinners given ! 

It scatters all their guilty fear; 

It turns their hell to heaven. 

3 Jesus the prisoner's fetters breaks, 

And bruises Satan's head ; 
Power into strengthless souls he speaks, 
And life into the dead. 

4 O that the world might taste and see 

The riches of his grace ! 
The arms of love that compass me 
Would all mankind embrace. 

5 His only righteousness I show, 

His saving truth proclaim ; 
'Tis all my business here below 
To cry, "Behold the Lamb !" 

6 Happy, if with my latest breath 

I may but gasp his name ; 
Preach him to all, and cry in death, 
"Behold, behold the Lamb !" 

Charles Wesley. 

"After Preaching in a Church" is the 
title of this magnificent hymn in Hymns 
and Sacred Poems, 1749. It is one of 
Charles Wesley's best. It is culled from 
a hymn of twenty-two stanzas. The first 
line of the original is, "Jesu, accept the 
grateful song." In verse four, line three, 
above, the author wrote "which" instead 
of "that." The following circumstances 
are believed by Stevenson, the Wesleyan 
hymnologist, to have suggested the writ- 
ing of this hymn: 

On August 6, 1744, Charles Wesley 
preached in Mr. Bennet's church at Laneast, 
*in Cornwall. As he was speaking against 
their drunken revels a person in the congre- 
gation contradicted and blasphemed. The 
preacher asked, "Who is he that pleads for 
the devil?" and one answered in those very 
words: "I am he that pleads for the devil." 

He says: "I took occasion from hence to show 
the revelers their champion, and the whole 
congregation their state by nature. Much 
good I saw immediately brought out of Sa- 
tan's evil. Then I set • myself against his 
avowed advocate, and drove him out of the 
Christian assembly. I concluded with earnest 
prayer for him." 

This is one of those hymns which, as 
Dr. Telford remarks, has "stamped itself 
deep in the religious life of Methodism." 

Few hymns have been more quoted by 
Methodist ministers in their dying hours 
than this, especially the last stanza. But 
perhaps the youngest "preacher" that 
ever made use of it tenderly and effective- 
ly in the dying hour is described in the 
following incident, which serves also to 
show how the early Methodists taught 
such hymns as this to their children at 
home and in Sunday schools: 

By a distressing accident a little girl only 
seven years of age was severely burned and 
had to be taken to a hospital in London. At 
a Methodist Sunday school she had learned 
to love and to sing the hymn beginning, "Je- 
sus, the name high over all." On the last 
night of her life all the patients were quiet 
in the ward where she lay, and nothing was 
heard but the tick and strike of the clock, 
when suddenly the little sufferer broke the si- 
lence by sweetly singing a verse from her fa- 
vorite hymn : 

"O that the world might taste and see 
The riches of his grace * 
The arms of love that compass me 
Would all mankind embrace." 

Then silence reigned again in the room, and 
for some time, as before, only the ticking of 
the clock was heard when the melodious 
voice of the little sufferer again broke the si- 
lence and many other sufferers in the room 
heard her singing softly : 

"Happy, if with my latest breath 
I may but gasp his name ; 
Preach him to all, and cry in death, 
Behold, behold the Lamb !" 

And with that the little preacher's voice 
was indeed hushed in death, but not until 
many had heard, in the words of this tender 
song as she so sweetly sang it, a gospel mes- 
sage never to be forgotten. 



C. M, 


LET Zion's watchmen all awake, 
And take the alarm they give; 
Now h t them from the mouth of God 
Their solemn charge receive. 

■J. 'Tla not a cause of small import 
The pastor's care demands; 
But what might fill an angel's heart, 
And filled a Saviour's hands. 

3 They watch for souls for whom the Lord 

Did heavenly bliss forego ; 
For souls that must forever live 
In raptures or in woe. 

4 May they that Jesus, whom they preach, 

Their own Redeemer see ; 
And watch thou daily o'er their souls, 
That they may watch for thee. 

Pliilip Doddridge. 

Author's title: "Watching for Souls in 
the View of the Great Account" It is 
based on Hebrews xiii. 17: 

Obey them that have the rule over you, and 
submit yourselves : for they watch for your 
souls, as they that must give account, that 
they may do it with joy, and not with grief. 

This valuable hymn was written for 
the ordination of a minister, and has not 
been altered. One stanza, the fourth, has 
been omitted: 

4 All to the great Tribunal haste, 
Th' Account to render there ; 
And shouldst thou strictly mark our 
Lord, how should we appear? 

From Hymns Founded on Various Texts 
in the Holy Scriptures, London, 1755. 


C. M. 

HOW rich thy bounty, King of kings ! 
Thy favors, how divine ! 
The blessings which thy gospel brings, 
How splendidly they shine ! 

2 Gold is but dross, and gems but toys, 

Should gold and gems compare ; 
How mean, when set against those joys 
Thy poorest servants share ! 

3 Yet all these treasures of thy grace 

Are lodged in urns of clay ; 
And the weak sons of mortal race 
The immortal gifts convey. 

4 Feebly they lisp thy glories forth, 

Yet grace the victory gives; 
Quickly they molder back to earth, 
Yet still thy gospel lives. 

5 Such wonders power divine effects ; 

Such trophies God can raise; 
His hand, from crumbling dust, erects 
His monuments of praise. 

Philip Doddridge. 

This is one of Doddridge's very finest 
hymns; and yet, strangely enough, it is 
not found generally in modern collections. 
It was written September 23, 1739, for the 
author's use in his own Church. It is 
found in his Hymns, 1755, where it bears 
the title, "The Gospel Treasure in Earthen 
Vessels:' It is based on 2 Corinthians, 
iv. 7: "But we have this treasure in 
earthen vessels, that the excellency of the 
power may be of God, and not of us." 

This is one of the hymns that called 
forth from Horder the following observa- 

Doddridge's hymns appear to me to be a 
connecting link between Dr. Watts and 
Charles Wesley. They are akin to the Inde- 
pendent's in form, but to the Methodist's in 
their lyric force and fervor. Thus they pos- 
sess the excellences of both. 

225 L- M. 

SHALL I, for fear of feeble man, 
The Spirit's course in me restrain? 
Or, undismayed in deed or word, 
Be a true witness for my Lord? 

2 Awed by a mortal's frown, shall I 
Conceal the word of God most high? 
How then before thee shall I dare 
To stand, or how thine anger bear? 

3 Shall I, to soothe the unholy throng, 
Soften thy truth, and smooth my tongue, 
To gain earth's gilded toys, or flee 

The cross endured, my Lord, by thee? 

4 What then is he whose scorn I dread, 
Whose wrath or hate makes me afraid? 
A man ! an heir of death ! a slave 

To sin ! a bubble on the wave ! 

5 Yea, let men rage, since thou wilt spread 
Thy shadowing wings around my head : 
Since in all pain thy tender love 

Will still my sure refreshment prove. 
John J. Winkler. Tr. by John Wesley. 



From the German. The translation is 
entitled, "Boldness in the Gospel:' 

Something of the dignity and responsi- 
bility of an ambassador of Christ is 
shown in this hymn. The translation is 
from Hymns and Sacred Poems, 1739. 
The translation has ten stanzas; these 
are the first five. Verses seven and eight 
are as follows: 

7 The love of Christ doth me constrain 
To seek the wandering souls of men ; 
With cries, entreaties, tears, to save, — 
To snatch them from the gaping - grave. 

8 For this let men revile my name ; 
No cross I shun, I fear no shame : 

All hail, reproach ; and welcome, pain ; 
Only thy terrors, Lord, restrain. 

Doubtless these stanzas not only repre- 
sent the feelings of the author but of the 
translator as well. 


L. M. 


E bid thee welcome in the name 
Of Jesus, our exalted Head ; 
Come as a servant — so he came — 
And we receive thee in his stead. 

2 Come as a shepherd — guard and keep 

This fold from hell, and earth, and sin ; 
Nourish the lambs, and feed the sheep, 
The wounded heal, the lost bring in. 

3 Come as an angel — hence to guide 

A band of pilgrims on their way, 
That, softly walking at thy side, 

We fail not, faint not, turn nor stray. 

4 Come as a teacher — sent from God, 

Charged his whole counsel to declare ; 
Lift o'er our ranks the prophet's rod, 

While we uphold thy hands with prayer. 
James Montgomery. 

"On the Appointment of a Minister" is 
the title of this hymn in the author's 
Christian Psalmist, 1825, where it has 
six stanzas. It is designed, as sung by 
a Christian congregation, to convey the 
sentiment of welcome felt by a Church 
for a new pastor. The Methodist itin- 
eracy furnishes frequent occasions for 
the use of such a hymn. The two omit- 
ted stanzas are: 

3 Come as a watchman ; — take thy stand 
Upon the tower amidst the sky, 
And when the sword comes on the land, 
Call us to fight, or warn to fly. 

6 Come as a messenger of peace, 

Filled with the Spirit, fired with love ; 
Live to behold our large increase, 
And die to meet us all above. 

It is well for the preacher and pastor 
to be told occasionally what the people 
want him to be and what they have a 
right to expect him to be. The six 
qualities here named serve well to de- 
fine the Christian ideal of a minister of 
the gospel — viz., servant, shepherd, watch- 
man, angel, teacher, messenger. The 
preacher who measures up to this defini- 
tion will never lack for an audience nor 
for the confidence and love of his people. 

227 s. m. 

AND let our bodies part, 
To different climes repair ; 
Inseparably joined in heart 
The friends of Jesus are. 

2 O let us still proceed 

In Jesus' work below ; 
And, following our triumphant Head, 
To further conquests go ! 

3 The vineyard of the Lord 

Before his laborers lies ; 
And lo ! we see the vast reward 
• Which waits us in the skies. 

4 O let our heart and mind 

Continually ascend, 
That haven of repose to find, 
Where all our labors end, 

5 Where all our toils are o'er, 

Our suffering and our pain ! 
Who meet on that eternal shore 
Shall never part again. 

Charles Wesley. 
Title: "At Parting:'' It is one of the 
Hymns for Christian FrienpLs. The orig- 
inal is in two parts and comprises ten 
eight-lined stanzas. This hymn is from 
part one. Several lines were changed for 
the Collection of 1780, probably by John 

The original hymn is found in Charles 
Wesley's Hymns and Sacred Poems, 1749. 



One stanza, the next following the hymn, 
is too comforting not to quote: 

O happy, happy place, 

Where saints and angels mei t ; 

There we shall see each other's face, 
And all our brethren greet. 

This hymn has been frequently sung 
by the Wesleyans and other Methodists 
at the closing of Annual Conferences. 
It stirs the soul to hear it sung by a 
large gathering of Methodist preachers, 
as it often is, just before receiving their 
"appointments" and going forth for an- 
other year of service and sacrifice. 

228 C. M. 

BLEST be the dear uniting love 
That will not let us part ; 
Our bodies may far off remove, 
We still are one in heart. 

2 Joined in one spirit to our Head, 

Where he appoints we go ; 
And still in Jesus' footsteps tread, 
And do his work below. 

3 O let us ever walk in him, 

And nothing know beside, 
Nothing desire, nothing esteem, 
But Jesus crucified ! 

4 Partakers of the Saviour's grace, 

The same in mind and heart, 
Nor joy, nor grief, nor time, nor place, 
Nor life, nor death, can part. 

5 Then let us hasten to the day 

Which shall our flesh restore, 
When death shall all be done away, 
And bodies part no more. 

Charles Wesley. 

"At Parting" is the title of this hymn 
in Hymns and Sacred Poems, 1742. In 
verse one, line four, the author wrote 
"joined" instead of "one," and in verse 
five, line one, "But" instead of "Then." 
Three stanzas are omitted: 

4 Closer and closer let us cleave ; 

To his beloved embrace ; 
Expect his fullness to receive, 
And grace to answer grace. 

5 While thus we walk with Christ in 

Who shall our souls disjoin? 

Souls which Himself vouchsafes to 
In fellowship Divine. 

6 We all are one who Him receive, 
And each with each agree; 
In Him, the One, the Truth, we live, 
Blest point of unity. 

This hymn is frequently sung at An- 
nual Conferences before reading out the 
"appointments" of the preachers for the 
ensuing year, its use and associations in 
Methodist history being quite similar to 
those of the preceding hymn, beginning: 
"And let our bodies part." 

John B. Gough, the great temperance 
lecturer, gives an interesting account in 
his Autobiography of the singing of this 
hymn when as a boy he left home for 
America in June, 1839. While the ship 
on which he was to sail was becalmed and 
tarried at Sandgate, his father and other 
loved ones came on board. When the vis- 
itors were about to leave for the shore, 
they formed their boats in a semicircle 
around the ship, and all stood up and 
with blended voices sang their affectionate 
farewell in the words of this hymn. As 
the music floated over the calm waters in 
the weird twilight of the dying day, it 
left an impression never to be forgotten 
by any of those who witnessed the beau- 
tiful leave-taking in the words of the poet : 

Blest be the dear uniting love 
That will not let us part : 

Our bodies may far off remove, 
We still are one in heart. 

229 L- M 

COME, Father, Son, and Holy Ghost, 
Honor the means ordained by thee ; 
Make good our apostolic boast, 
And own thy glorious ministry. 

2 Father, in these reveal thy Son ; 

In these, for whom we seek thy face, 
The hidden mystery make known, 
The inward, pure, baptizing grace. 

3 Jesus, with us thou always art ; 

Effectual make the sacred sign : 
The gift unspeakable impart. 
And bless the ordinance divine. 



4 Eternal Spirit, from on high, 
Baptizer of our spirits thou ! 
The sacramental seal apply, 

And witness with the water now. 

Charles Wesley. 

Title: "At the Baptism of Adults." Wes- 
ley wrote the second line of the first verse: 

Honor the Means In join' d by Thee. 

It was changed for the Collection of 
1780. The second line of the third verse 

Effectuate now the Sacred Sign. 

This awkward expression was changed 
by the editors of the hymn book in 1849. 
Two stanzas have been omitted. 
From Hymns and Sacred Po?ms, 1749. 


C. M. 

SEE Israel's gentle Shepherd stand 
With all-engaging charms ; 
Hark, how he calls the tender lambs, 
And folds them in his arms ! 

2 "Permit them to approach," he cries, 

"Nor scorn their humble name ; 
For 'twas to bless such souls as these 
The Lord of angels came." 

3 We bring them, Lord, in thankful hands, 

And yield them up to thee ; 
Joyful that we ourselves are thine, 
Thine let our offspring be. 

Philip Doddridge. 

This hymn on "Christ's Condescending 
Regard to Little Children'' is frequently 
sung at the baptism of infants. It is based 
on Mark x. 14: "Suffer the little children 
to come unto me, and forbid them not; 
for of such is the kingdom of God." Two 
stanzas are omitted: 

Ye little flock, with pleasure hear ; 

Ye children, seek his face, 
And fly with transport to receive 

The blessings of his grace. 

If orphans they are left behind, 

Thy guardian care we trust, 
That care shall heal our bleeding hearts, 

While weeping o'er their dust. 

From the author's Hymns, 1755. 

231 L- M. 

OGOD, great Father, Lord, and King ! 
Our children unto thee we bring ; 
And strong in faith, and hope, and love, 
We dare thy steadfast word to prove. 

2 Thy covenant kindness did of old 
Our fathers and their seed enfold ; 
That ancient promise standeth sure, 
And shall while heaven and earth endure. 

3 Look down upon us while we pray, 
And visit us in grace to-day ; 
These little ones in mercy take 

And make them thine for Jesus' sake. 

4 While they the outward sign receive, 
Wilt thou thy Holy Spirit give, 

And keep and help them by thy power 
In every hard and trying hour. 

5 Guide thou their feet in holy ways : 
Shine on them through the darkest days ; 
Uphold them till their life be past, 
And bring them all to heaven at last. 

E. Embree Hoss. 

At one of the meetings of the Joint 
Commission it was found that we were 
greatly in need of suitable hymns for the 
baptism of children. At a subsequent 
meeting it came to the knowledge of the 
Commission that Bishop Hoss, of the 
Methodist Episcopal Church, South, one of 
the Chairmen of the Commission, had 
written the above hymn for use on the 
occasion of the baptism by himself of 
some children at the session of the White 
River Conference which was held at Wal- 
nut Ridge, Arkansas, in November, 1903. 
It appeared in print soon thereafter in the 
columns of the Nashville Christian Advo- 
cate. If the vote for its admission to the 
Hymnal was not unanimous, it was only 
because the author did not himself vote. 
It is a hymn at once scriptural, devotion- 
al, and in every way appropriate for use 
in connection with the baptism of chil- 

232 L, M. 

THIS child we dedicate to thee, 
O God of grace and purity ! 
Shield it from sin and threatening wrong, 
And let thy love its life prolong. 



2 O may thy Spirit gently draw 
Its willing soul to keep thy law; 
May virtue, pioty, and truth 
Dawn even with its dawning youth ! 

3 We too, before thy gracious sight, 
Once shared the blest baptismal rite, 
And would renew its solemn vow 

With love, and thanks, and praises, now. 

4 Grant that, with true and faithful heart, 
We still may act the Christian's part, 
Cheered by each promise thou hast given, 
And laboring for the prize in heaven. 

From the German. 
Tr. by Samuel Gilman. 

The date assigned by Professor Bird to 
this translation of an anonymous German 
hymn is 1823. It is found in Putnam's 
Singers and Songs of the Liberal Faith, 


C. M. 

THE King of heaven his table spreads, 
And blessings crown the board ; 
Not paradise, with all its joys, 
Could such delight afford. 

2 Pardon and peace to dying men, 

And endless life, are given, 
Through the rich blood that Jesus shed 
To raise our souls to heaven. 

3 Millions of souls, in glory now, 

Were fed and feasted here ; 
And millions more, still on the way, 
Around the board appear. 

4 All things are ready, come away, 

Nor weak excuses frame ; 
Crowd to your places at the feast, 
And bless the Founder's name. 

Philip Doddridge. 

Title: "Room at the Gospel Feast." 
Luke xiv. 22: "And the servant said, Lord, 
it is done as thou hast commanded, and 
yet there is room." One word only has 
been changed. The author wrote "dain- 
ties" instead of "blessings" in the second 
line. Two stanzas, the third and fifth, of 
the original have been omitted: 

3 Ye hungry Poor, that long have stray'd 
In Sin's dark Mazes, come : 
Come from the Hedges and Highways, 
And Grace shall find you Room. 

5 Yet is his House and Heart so large, 
That Millions more may come ; 

Nor could the wide assembling World 
O'erfill the spacious Room. 

From Hymns Founded on Various Texts 
in the Holy Scriptures, 1755. 


C. M. 

ACCORDING to thy gracious word, 
In meek humility, 
This will I do, my dying Lord, 
I will remember thee. 

2 Thy body, broken for my sake, 

My bread from heaven shall be ; 
Thy testamental cup I take, 
And thus remember thee. 

3 Gethsemane can I forget, 

Or there thy conflict see, 
Thine agony and bloody sweat, 
And not remember thee? 

£ When to the cross I turn mine eyes, 
And rest on Calvary, 
O Lamb of God, my Sacrifice, 
I must remember thee ! 

5 Remember thee, and all thy pains, 
And all thy love to me ; 
Yea, while a breath, a pulse remains, 
Will I remember thee ! 

G And when these failing lips grow dumb, 
And mind and memory flee, 
When thou shalt in thy kingdom come, 
Then, Lord, remember me ! 

James Montgomery. 

This hymn is one of the most beautiful 
and useful of all our hymns written to be 
sung in connection with the sacramental 
services of the Lord's Supper. It was 
first published in the author's Christian 
Psalmist, 1825. Tne words of Luke xxii. 
19 furnish at once the title and the Scrip- 
ture basis of the hymn: "This Do in Re- 
membrance of Me." 

235 8s, 7s. D. 

JESUS spreads his banner o'er us, 
Cheers our famished souls with food ; 
He the banquet spreads before us, 

Of his mystic flesh and blood. 
Precious banquet, bread of heaven, 

Wine of gladness, flowing free ; 
May we taste it, kindly given, 
In remembrance, Lord, of thee. 

2 In thy holy incarnation, 

When the angels sang thy birth ; 



In thy fasting and temptation, 
In thy labors on the earth, 

In thy trial and rejection, 
In thy sufferings on the tree, 

In thy glorious resurrection, 
May we, Lord, remember thee. 

Roswell Park. 

These are the second and third verses, 
verbatim, of a hymn of six stanzas en- 
titled "The Communion/ 9 It is taken 
from the author's Poems, 1836. 

The introduction to this hymn is found 
in the first stanza. In some churches the 
congregation is dismissed before the com- 
munion service: 

1 While the sons of earth retiring, 

From the sacred temple roam ; 
Lord, thy light and love desiring, 

To thine altar fain we come. 
Children of our Heavenly Father, 

Friends and brethren would we be ; 
While we round thy table gather, 

May our hearts be one in thee. 

236 0. M. D. 

IF human kindness meets return, 
And owns the grateful tie ; 
If tender thoughts within us burn 

To feel a friend is nigh — 
O shall not warmer accents tell 

The gratitude we owe 
To Him who died, our fears to quell, 
Our more than orphan's woe ! 

2 While yet His anguished soul surveyed 
Those pangs He would not flee, 
What love His latest words displayed — 

"Meet and remember me !" 
Remember Thee ! Thy death, Thy shame 

Our sinful hearts to share ! 
O memory, leave no other name 
But His recorded there ! 

Gerard T. Noel. 

''This Do in Remembrance of Me" is the 
author's title for this hymn in his Selec- 
tion of Psalms and Hymns, London, 1810. 
It is also found in his Arvendel; or, 
Sketches of Italy and Switzerland, 1813. 
It is a tender and beautiful lyric of love 
to the Lord of life. 

237 ios. 

HERE, O my Lord, I see thee face to face ; 
Here would I touch and handle things 

Here grasp with firmer hand eternal grace, 
And all my weariness upon thee lean. 

2 Here would I feed upon the bread of God ; 

Here drink with thee the royal wine of 
heaven ; 
Here would I lay aside each earthly load, 
Here taste afresh the calm of sin for- 

3 Too soon we rise : the symbols disappear ; 

The feast, though not the love, is passed 

and gone ; 
The bread and wine remove : but thou art 

Nearer than ever, — still my shield and 


4 I have no help but thine, nor do I need 

Another arm save thine to lean upon ; 
It is enough, my Lord, enough indeed : 

My strength is in thy might, — thy might 

5 I have no wisdom save in him who is 

My wisdom and my teacher both in one ; 

No wisdom can I lack while thou art wise, 

No teaching do I crave save thine alone. 

6 Feast after feast thus comes, and passes 

Yet, passing, points to the glad feast 
Giving sweet foretaste of the festal joy, 
The Lamb's great bridal feast of bliss 
and love. 

Horatius Bonar. 

The author's title is, "This Do in Re- 
membrance of Me." Ten stanzas; these 
are one, two, four, five, six, and ten, un- 

Written at the request of the author's 
brother, Dr. John James Bonar, in 1855. 
It appears in the author's Hymns of Faith 
and Hope, first series, 1857. 

To those to whom this hymn has be- 
come familiar by use it is very precious 
and helpful. The Dictionary of Hymnolo- 
gy says: "In literary merit, earnestness, 
pathos, and popularity this hymn ranks 
with the best of Dr. Bonar's composi- 


9s, 8s. 


READ of the world in mercy broken, 
Wine of the soul in mercy shed, 

By whom the words of life were spoken, 
And in whose death our sins are dead 



2 Look on the heart by sorrow broken, 
Look on the tears by sinners shed ; 
And be thy feast to us the token 

That by thy grace our souls are fed. 

Reginald Heber. 

"Before the Sacrament" is the title 
which this hymn bears in the author's 
Hymns, 1827. 

239 8, 8, 8, 4. 

BY Christ redeemed, in Christ restored, 
We keep the memory adored, 
And show the death of our dear Lord 
Until he come. 

2 His body, broken in our stead, 
Is here, in this memorial bread ; 
And so our feeble love is fed 

Until he come. 

3 His fearful drops of agony, 

His lifeblood shed for us we see : 
The wine shall tell the mystery 
Until he come. 

4 And thus that dark betrayal night, 
With the last advent we unite — 
The shame, the glory, by this rite, 

Until he come. 

5 Until the trump of God be heard, 
Until the ancient graves be stirred, 
And with the great commanding word 

The Lord shall come. 

6 O blessed hope ! with this elate 
Let not our hearts be desolate, 

But strong in faith, in patience wait 
Until he come ! 

George Rawson. 

Title: "Holy Communion." This fine 
lyric was written in 1857 and first pub- 
lished in a Baptist book, Psalms and 
Hymns, 1858. 

Dr. Julian says: "It is a hymn of more 
than usual excellence, and has attained to 
a greater position in modern hymnals 
than any other of the author's numerous 

The unique refrain, "Until he come," is 
evidently borrowed from Paul: "For as 
often as ye eat this bread, and drink this 
cup, ye do shew the Lord's death, till he 
come." (1 Cor. xi. 26.) In the author's 
Hymns, Verses, and Chants, London, 1876, 

the text is the same as here, except the 
first line of verse three, which is: "The 
streams of his dread agony." The change 
is an improvement. 

240 7s. 61. 

TILL he come !" O let the words 
Linger on the trembling chords ; 
Let the "little while" between 
In their golden light be seen ; 
Let us think how heaven and home 
Lie beyond that "Till he come." 

2 When the weary ones we love 
Enter on their rest above-, 
Seems the earth so poor and vast, 
All our life-joy overcast? 

Hush, be every murmur dumb ; 
It is only "Till he come." 

3 Clouds and conflicts round us press ; 
Would we have one sorrow less? 
All the sharpness of the cross, 

All that tells the world is lost, 
Death and darkness, and the tomb, 
Only whisper, "Till he come." 

4 See, the feast of love is spread ; 
Drink the wine, and break the bread — 
Sweet memorials — till the Lord 

Call us round his heavenly board, 
Some from earth, from glory some, 
Severed only "Till he come." 

Edward H. Bickersteth. 
This hymn was written in 1861, and 
was first published in the author's vol- 
ume titled The Blessed Dead, 1862, and 
was republished in several of his later 
volumes. It is titled: "Ye do Show the 
Lord's Death till He Come." (1 Cor. xi. 
26.) In the author's Hymnal Companion, 
1870, it is accompanied by a note stating 
that it is given as a hymn representing 
one aspect of the Lord's Supper which is 
passed over in many hymnals, "Ye do 
show forth the Lord's death till he come," 
and also our communion with those of 
whom we say: "We bless thy Holy name 
for all thy servants departed this life in 
thy faith and fear." The author is most 
widely and favorably known throughout 
the world of English letters by his poetic 
volume titled Yesterday, To-Day, and For- 



C. M. 

COME, O thou all-victorious Lord, 
Thy power to us make known ; 
Strike with the hammer 6f thy word, 
And break these hearts of stone. 

2 O that we all might now begin 

Our foolishness to mourn ; 
And turn at once from every sin, 
And to the Saviour turn ! 

3 Give us ourselves and thee to know 

In this our gracious day ; 
Repentance unto life bestow, 
And take our sins away. 

4 Convince us first of unbelief, 

And freely then release ; 
Fill every soul with sacred grief, 
And then with sacred peace. 

Charles Wesley. 

Title: "Written Before Preaching at 

The fact that many of the people 
worked in stone quarries probably sug- 
gested to Wesley this Scripture: "Is not 
my word . . . like a hammer that breaketh 
the rock in pieces?" (Jer. xxiii. 29.) 

The author wrote, verse four, line one: 
Conclude us first in unbelief. 

There are three additional stanzas. It 
is from Hymns and Sacred Poems, by 
Charles Wesley, 1749. 


C. M. 

PLUNGED in a gulf of dark despair, 
We wretched sinners lay, 
Without one cheering beam of hope, 
Or spark of glimmering day. 

2 With pitying eyes the Prince of grace 

Beheld our helpless grief : 
He saw, and ( O amazing love ! ) 
He ran to our relief. 

3 Down from the shining seats above 

With joyful haste he sped, 
Entered the grave in mortal flesh, 
And dwelt among the dead. 

4 O for this love let rocks and hills 

Their lasting silence break ; 

And all harmonious human tongues 
The Saviour's praises speak ! 

5 Angels, assist our mighty joys, 
Strike all your harps of gold ; 
But when you raise your highest notes, 
His love can ne'er be told. 

Isaac Watts. 

"Praise to the Redeemer" is the title of 
this hymn in the author's Hymns and 
Spiritual Songs, 1707, where it first ap- 
peared. "I hope," says the author, "the 
reader will forgive the neglect of rhymes 
in the first and third lines of the stanzas." 
"This hymn," observes a thoughtful crit- 
ic, "is sufficient to prove that such rhyme 
is not necessary to the loftiest poetical 
composition. There are very few lines of 
sacred poetry so sublime as the last part 
of this hymn." Three stanzas are omitted 
above : 

4 He spoiled the powers of darkness thus, 

And brake our iron chains ; 
Jesus has freed our captive souls 
From everlasting pains. 

5 In vain the baffled prince of hell 

His cursed projects tries ; 
We that were doomed his endless slaves 
Are raised above the skies. 

7 Yes, we will praise thee, dearest Lord, 
Our souls are all on flame ; 
Hosanna round the spacious earth 
To thine adored name ! 

No hymn in the entire range of Chris- 
tian lyric poetry furnishes a finer study 
in literary climax than this. The begin- 
ning of the hymn in the "gulf of dark de- 
spair," created by sin, furnishes the poet 
with an opportunity to ascend through the 
succeeding stanzas to the lofty climax of 
grace and glory with which the last stanza 
closes the hymn. It is a fine specimen of 
lyric poetry, whether viewed from the 
standpoint of literary art or of spiritual 

The profound hold which Dr. Watts's 




hymns have taken upon the hearts of Eng- 
lish Christians for the past century gives 
them a devotional value second only to 
the Bible in the lives of multitudes. This 
influence is well illustrated in a case cited 
by Dr. Telford. When George Eliot's 
aunt, Mrs. Samuel Evans, the fiery little 
Methodist heroine of Adam Bede, who is 
described as "a small, black-eyed woman, 
very vehement in her style of preaching," 
was dying, in December, 1858, she was one 
night sitting by her bed in great pain, 
when she exclaimed: "How good the Lord 
is! Praise his holy name." As a friend 
supported her she quoted from the hymn 
beginning, "When I survey the wondrous 
cross," this stanza: 

See, from his head, his hands, his feet, 
Sorrow and love flow mingled down : 

Did e'er such love and sorrow meet, 
Or thorns compose so rich a crown? 

A little later she quoted from another of 
Dr. Watts's hymns the familiar lines: 

"Worthy the Lamb that died," they cry, 

"To be exalted thus;" 
"Worthy the Lamb," our hearts reply, 

"For he was slain for us." 

Then, after a pause, she quoted from this 
hymn the incomparable words with which 
it closes: 

Angels, assist our mighty joys, 
Strike all your harps of gold ; 

But when you raise your highest notes, 
His love can ne'er be told ! 


C. M. 


HAT is the thing of greatest price, 
The whole creation round? 

That which was lost in Paradise, 
That which in Christ is found : 

2 The soul of man, Jehovah's breath, 

That keeps two worlds at strife ; 
Hell moves beneath to work its death, 
Heaven stoops to give it life. 

3 God, to reclaim it, did not spare 

His well-beloved Son ; 
Jesus, to save it, deigned to bear 
The sins of all in one. 

4 The Holy Spirit sealed the plan, 

And pledged the blood divine, 

To ransom every soul of man ; 
That price was paid for mine. 

5 And is this treasure borne below, 

In earthen vessels frail? 
Can none its utmost value know, 
Till flesh and spirit fail? 

6 Then let us gather round the cross, 

That knowledge to obtain ; 
Not by the soul's eternal loss, 
But everlasting gain. 

James Montgomery. 

Author's title: "T7ie Soul." It is taken 
unaltered and entire from The Christian 
Psalmist. 1825. 

A recent hymn critic in his annotations 
says: "Few hymns set forth in so brief a 
space so many cardinal truths concerning 
the way of salvation." 

This writer has furnished more hymns 
to the Hymnal than any other except 
Watts and the Wesleys. There are nine- 
teen by Montgomery, and all of them are 
valuable. The only criticism that can be 
justly made is that, like this, most of 
them are didactic poems rather than 

244 L- M. 

WHEREWITH, O Lord, shall I draw near, 
And bow myself before thy face? 
How in thy purer eyes appear? 

What shall I bring to gain thy grace? 

2 Whoe'er to thee themselves approve 

Must take the path thyself hast showed ; 
Justice pursue, and mercy love, 

And humbly walk by faith with God. 

3 But though my life henceforth be thine, 

Present for past can ne'er atone ; 
Though I to thee the whole resign, 
I only give thee back thine own. 

4 What have I then wherein to trust? 

I nothing have, I nothing am ; 
Excluded is my every boast ; 

My glory swallowed up in shame. 

5 Guilty I stand before thy face ; 

On me I feel thy wrath abide ; 
'Tis just the sentence should take place, 
'Tis just — but O, thy Son hath died ! 
Charles Wesley. 

This hymn has thirteen stanzas in the 
author's Hymns and Sacred Poems, 1740. 



We have here verses one, five, six, eight, 
and nine. In verse one the original has 
"God" instead of "Lord," and in verse five 
"I feel on me" instead of "On me I feel." 
It is based on Micah vi. 6-8: 

Wherewith shall I come before the Lord, 
and bow myself before the high God? shall 

1 come before him with burnt offerings, with 
calves of a year old? Will the Lord be 
pleased with thousands of rams, or with ten 
thousands of rivers of oil? shall I give my 
firstborn for my transgression, the fruit of 
my body for the sin of my soul? He hath 
shewed thee, O man, what is good ; and what 
doth the Lord require of thee, but to do justly, 
and to love mercy, and to walk humbly with 
thy God? 

We quote three additional verses: 

10 Jesus, the Lamb of God, hath bled, 

He bore our sins upon the tree, 
Beneath our curse he bowed his head, 
'Tis finished ! He hath died for me ! 

11 For me I now believe he died ! 

He made my every crime his own, 
Fully for me he satisfied : 

Father, well pleased behold thy Son. 

13 He ever lives for me to pray; 

He prays that I with him may reign : 
Amen to what my Lord doth say ! 
Jesu, thou canst not pray in vain. 

245 c. m. 

THOU Son of God, whose flaming eyes 
Our inmost thoughts perceive, 
Accept the grateful sacrifice 
Which now to thee we give. 

2 We bow before thy gracious throne, 

And think ourselves sincere ; 
But show us, Lord, is every one 
Thy real worshiper? 

3 Is here a soul that knows thee not, 

Nor feels his need of thee ; 
A stranger to the blood which bought 
His pardon on the tree? 

4 Convince him now of unbelief, 

His desperate state explain ; 
And fill his heart with sacred grief, 
And penitential pain. 

5 Speak with that voice that wakes the dead, 

And bid the sleeper rise, 
And bid his guilty conscience dread 
The death that never dies. 

Charles Wesley. 

From Hymns for the Use of Families, 
by Charles Wesley, 1767. There are three 
valuable additional stanzas: 

6 Extort the cry, What must be done 

To save a wretch like me? 
How shall a trembling sinner shun 
That endless misery? 

7 I must this instant now begin, 

Out of my sleep to wake, 
And turn to God, and every sin 
Continually forsake. 

8 I must for faith incessant cry, 

And wrestle, Lord, with Thee ; 
I must be born again, or die 
To all eternity. 

There is a scripturalness and a positive- 
ness about this whole hymn that is truly 


C. M. 

SINNERS, the voice of God regard ; 
'Tis mercy speaks to-day ; 
He calls you by his sacred word 
From sin's destructive way. 

2 Like the rough sea that cannot rest, 

You live devoid of peace ; 
A thousand stings within your breast 
Deprive your souls of ease. 

3 Why will you in the crooked ways 

Of sin and folly go? 
In pain you travel all your days, 
To reap eternal woe. 

4 But he that turns to God shall live 

Through his abounding grace : 
His mercy will the guilt forgive 
Of those that seek his face. 

5 Bow to the scepter of his word, 

Renouncing every sin ; 
Submit to him, your sovereign Lord, 
And learn his will divine. 

John Fawcett. 

From the author's Hymns Adapted to 
the Circumstances of Public Worship and 
Private Devotion, Leeds, 1782. It is based 
on Isaiah lv. 7: "Let the wicked forsake 
his way, and the unrighteous man his 
thoughts: and let him return unto the 
Lord, and he will have mercy upon him; 
and to our God, for he will abundantly 
pardon." In the last line of verse three 



the author wrote "immortal" instead of 
"eternal." The two omitted stanzas are: 

3 Your way is dark, and leads to hell: 
Why will you persevere? 
Can you in endless torments dwell, 
Shut up in black despair? 

7 His love exceeds your highest thoughts, 
fie pardons like a God ; 
He will forgive your numerous faults, 
Through a Redeemer's blood. 

247 7s. D. 

SINNERS, turn ; why will ye die? 
God, your Maker, asks you why; 
God, who did your being give, 
Made you with himself to live ; 
He the fatal cause demands, 
Asks the work of his own hands : 
Why, ye thankless creatures, why 
Will ye cross his love, and die? 

2 Sinners, turn; why will ye die? 
God, your Saviour, asks you why ; 
God, who did your souls retrieve, 
Died himself, that ye might live. 
Will ye let him die in vain? 
Crucify your Lord again? 

Why, ye ransomed sinners, why 
Will ye slight his grace, and die? 

3 Sinners, turn ; why will ye die? 
God, the Spirit, asks you why ; 

He, who all your lives hath strove, 
Wooed you to embrace his love ; 
Will ye not his grace receive? 
Will ye still refuse to live? 
Why, ye long-sought sinners, why 
Will ye grieve your God, and die? 

Charles Wesley. 

The Scripture basis of this hymn is 
Ezekiel xviii. 31: "Why will ye die, O 
house of Israel?" 

These are the first three verses of a 
long poem published in Hymns on God's 
Everlasting Love, 1741. In sixteen double 
stanzas Wesley pleads passionately with 
sinners. In the tenth verse he says: 

What could your Redeemer do, 
More than he hath done for you? 
To procure your peace with God, 
Could he more than shed his blood? 
After all his flow of love, 
All his drawings from above, 
Why will ye your Lord deny? 
Why will ye resolve to die? 




ASTEN, sinner, to be wise ! 

Stay not for the morrow's sun 
Wisdom, if thou still despise, 

Harder is it to be won. 

2 Hasten, mercy to implore ! 

Stay not for the morrow's sun, 
Lest thy season should be o'er 
Ere this evening's stage be run. 

3 Hasten, sinner, to return ! 

Stay not for the morrow's sun, 
Lest thy lamp should cease to burn 
Ere salvation's work is done. 

4 Hasten, sinner, to be blest ! 

Stay not for the morrow's sun, 
Lest swift death should thee arrest 
Ere the morrow is begun. 

Thomas Scott. 

'"Belay''' is the author's title to this 
hymn in his Lyric Poems, Devotional and 
Moral, London, 1773. In the first stanza, 
lines three and four, the author wrote: 

Longer ivisdom you despise, 
Harder is she to be won. 

The original of line three in verse four 
is: "Lest perdition thee arrest." 


L. M. 

BEHOLD, a Stranger at the door! 
He gently knocks, has knocked before ; 
Has waited long, is waiting still ; 
You treat no other friend so ill. 

2 O lovely attitude ! he stands 

With melting heart and laden hands : 
O matchless kindness ! and he shows 
This matchless kindness to his foes. 

3 But will he prove a friend indeed? 
He will ; the very friend you need : 
The Friend of sinners — yes, 'tis he, 
With garments dyed on Calvary. 

4 Rise, touched with gratitude divine ; 
Turn out his enemy and thine. 
That soul-destroying monster, sin, 
And let the heavenly Stranger in. 

Joseph Grigg. 

The Scripture basis is Revelation iii. 
20: "Behold, I stand at the door, and 
knock." The original has eleven stanzas. 
These are the first four with slight al- 



terations. Prom Four Hymns on Divine 
Subjects, etc., 1765. 

Tne tenderness and love of Christ are 
revealed in this lyric in a remarkable 
manner. The closing stanza is a unique 
and comprehensive prayer: 

Sov'reign of Souls ! thou Prince of Peace ! 
O may thy gentle Reign increase ! 
Throw wide the Door, each willing Mind, 
And be his Empire all Mankind. 

250 s. m. 

WHERE shall rest be found, 
Rest for the weary soul? 
'Twere vain the ocean's depths to sound, 
Or pierce to either pole. 

2 The world can never give 

The bliss for which we sigh ; 
'Tis not the whole of life to live, 
Nor all of death to die. 

3 Beyond this vale of tears 

There is a life above, 
Unmeasured by the flight of years; 
And all that life is love. 

4 There is a death, whose pang 

Outlasts the fleeting breath : 
O what eternal horrors hang 
Around the second death ! 

5 Lord God of truth and grace, 

Teach us that death to shun, 
Lest we be banished from thy face, 
And evermore undone. 

James Montgomery. 

"The Issues of Life and Death" is the 
author's title to this hymn, which was 
written for the Anniversary Sermons of 
the Red Hill Wesleyan Sunday School, 
Sheffield. These sermons were preached 
on March 15 and 16, 1818, and the hymn 
was printed for use on a broad sheet. It 
is also contained in Cotterill's Selection, 
1819, and in Montgomery's Christian 
Psalmist, 1825. The last stanza was 
changed by the author. As it appeared 
when first published, in 1818, it read as 

Lord God of grace and truth, 
Teach us that death to shun ; 

Nor let us from our earliest youth 
Forever be undone. 

When it appeared in the Christian 
Psalmist, in 1825, this stanza had been 
changed so as to read as above. 

There are few, if any, more solemn and 
impressive hymns in the language than 
this. It is said to have been founded on 
the author's own sad and bitter experi- 
ence, out of which he was happily led by 
the Spirit of God, and thus enabled to 
write this most useful and impressive 
hymn. Describing that unhappy period of 
his life, he said: 

My restless and imaginative mind and my 
wild and ungovernable imagination have long 
ago broken loose from the anchor of faith, 
and have been driven, the sport of winds and 
waves, over an ocean of doubts, round which 
every coast is defended by the rocks of de- 
spair that forbid me to enter the harbor in 

This is one of the "portions of his history" 
to which he refers as preparing him to 
write with heartfelt penitence and grati- 
tude this hymn, which is based on He- 
brews iv. 11: "Let us labor therefore to 
enter into that rest, lest any man fall aft- 
er the same example of unbelief." 
The last stanza, omitted above, is: 

6 Here would we end our quest : 
Alone are found in thee, 
The life of perfect love — the rest 
Of immortality. 


L. M. 

HA.STE, traveler, haste ! the night comes on 
And many a shining hour is gone ; 
The storm is gathering in the west, 
And thou art far from home and rest. 

2 O far from home thy footsteps stray ; 
Christ is the life, and Christ the way, 
And Christ the light ; thy setting sun 
Sinks ere thy morning is begun. 

3 The rising tempest sweeps the sky ; 
The rains descend, the winds are high ; 
The waters swell, and death and fear 
Beset thy path, nor refuge near. 

4 Then linger not in all the plain, 
Flee for thy life, the mountain gain ; 
Look not behind, make no delay, 

O speed thee, speed thee on thy way ! 

William B. Collyer. 



Original title: ''Fleeing -from the Wrath 
to Come by Flying to Christ." It is found- 
ed on Genesis xix. 17: "Escape for thy 
life." The original has seven stanzas. 
These are one, two, four, and six. It is 
found in Nippon's Selection (the twenty- 
seventh edition, published in 1827), where 
each stanza except the last closes with 
this burden: 

Haste, traveler, haste ! 

Verses three, five, and seven are omit- 

o Awake, awake ! pursue thy way 

With steady course, while yet 'tis day ; 
While thou art sleeping on the ground, 
Danger and darkness gather round. 
Haste, traveler, haste ! 

5 O yes ! a shelter you may gain, 
A covert from the wind and rain, 
A hiding-place, a rest, a home, 
A refuge from the wrath to come. 
Haste, traveler, haste ! 

7 Poor, lost, benighted soul ! art thou 
Willing to find salvation now? 
There yet is hope ; hear mercy's call : 
Truth ! Life ! Light ! Way ! in Christ is all ! 
Haste to Him, haste ! 

Like some other hymns, this is an ex- 
hortation in rhyme; but, considering the 
needs of men, it is entirely justifiable. 


L. M. 

GOD calling yet! shall I not hear? 
Earth's pleasures shall I still hold dear? 
Shall life's swift passing years all fly, 
And still my soul in slumber lie? 

2 God calling yet! shall I not rise? 
Can I his loving voice despise, 
And basely his kind care repay? 
He calls me still; can I delay? 

3 God calling yet ! and shall he knock, 
And I my heart the closer lock? 

He still is waiting to receive, 
And shall I dare his Spirit grieve? 

4 God calling yet ! and shall I give 
No heed, but still in bondage live? 
I wait, but he does not forsake; 

He calls me still ; my heart, awake ! 

5 God calling yet ! I cannot stay ; 
My heart I yield without delay: 

Vain world, farewell, from thee I part ; 
The voice of God hath reached my heart. 
Gerhard Tersteegen. 
Tr. by Borah Borthwick Findlater. 

"A beautiful hymn on God's gracious 
call to turn to him, and what our answer 
should be." The German original first 
appeared in the second edition (1735) of 
Tersteegen's Spiritual Flower Garden 
(Geistliches Blumen GUrtlein), where it 
is titled ''To-Day if Ye Will Hear His 
Voice." Jane Borthwick and her sister 
Sarah (who became the wife of Rev. Eric 
John Findlater) were both translators of 
German hymns, which they published in 
a volume titled Hymns from the Land of 
Luther (first series, 1854; second, 1855; 
third, 1858; fourth, 1862; complete edition, 
1862; and a new edition, 1884). Sixty-one 
of these translations are by Jane Borth- 
wick, and fifty-three are by Sarah Borth- 
wick Findlater. The translation here giv- 
en has been generally accredited to Jane 
Borthwick, but she informed Dr. Julian 
that it was not her own but one of her 
sister's translations. As it came from the 
translator's hand it was in a different me- 
ter, beginning: "God calling yet! and shall 
I never hearken?" The changes made in 
the hymn, in order to adapt it to an or- 
dinary "long meter" tune, were by the 
compilers of the Sabbath Hymn Book. An- 
dover, 1858. It appears in this altered 
form in all the American Church hymnals 
that contain it. 

The German original contains eight 
stanzas, only six of which were translated. 
The fifth stanza of the translation is omit- 
ted in the Andover revision given above, 
and is as follows: 

Ah ! yield Him all — all to His care confiding : 

Where but with him are rest and peace abid- 

Unloose, unloose, break earthly bonds asun- 

And let this spirit rise in soaring wonder. 

This hymn is a remarkable soliloquy of 
an awakened and penitent soul. It could 



have been written only by one who had 
himself passed through the deep spiritual 
experiences involved in conviction of sin 
and conversion from sin. The author was 
a somewhat eccentric but deeply pious 
mystic. Methodist hymnology owes much 
to the purest and best representatives of 
Christian mysticism in Germany. At the 
age of twenty-seven Tersteegen wrote, in 
his own blood, a dedication of himself to 
God, in which he says: "God graciously 
called me out of the world and granted 
me the desire to belong to him and to be 
willing to follow him. I long for an eter- 
nity, that I may suitably glorify him for 


S. M. 

TO-MORROW, Lord, is thine, 
Lodged in thy sovereign hand, 
And if its sun arise and shine, 
It shines by thy command. 

2 The present moment flies, 

And bears our life away ; 
O ! make thy servants truly wise, 
That they may live to-day. 

3 Since on this winged hour 

Eternity is hung, 
Waken, by thine almighty power, 
The aged and the young. 

4 One thing demands our care ; 

O ! be it still pursued, 
Lest, slighted once, the season fair 
Should never be renewed. 

5 To Jesus may we fly, 

Swift ^s the morning light, 
Lest life's young golden beam should die 
In sudden, endless night. 

Philip Doddridge. 

Title: "The Vanity of Worldly Schemes 
Inferred from the Uncertainty of Life" 
Scripture basis, James iv. 14: "Ye know 
not what shall be on the morrow. For 
what is your life? It is even a vapor, that 
appeareth for a little time, and then van- 
isheth away." It is unaltered and entire 
from the author's Hymns Founded on Va- 
rious Texts in the Holy Scriptures, Lon- 
don, 1755. 


L. M. 


HILE life prolongs its precious light 
Mercy is found, and peace is given ; 
But soon, ah, soon, approaching night 
Shall blot out every hope of heaven. 

2 While God invites, how blest the day! 

How sweet the gospel's charming sound ! 
Come, sinners, haste, O haste away, 
While yet a pardoning God is found. 

3 Soon, borne on time's most rapid wing, 

Shall death command you to the grave, 
Before his bar your spirits bring, 
And none be found to hear or save. 

4 In that lone land of deep despair 

No Sabbath's heavenly light shall rise, 
No God regard your bitter prayer, 
No Saviour call you to the skies. 

Timothy Dwight. 

From Dr. Dwight's edition of Watts's 
Psalms, 1800, where it bears the title, 
"Life the Only Accepted Time," and is giv- 
en as part third of the eighty-eighth 
Psalm. The last two stanzas of the orig- 
inal are omitted here: 

5 No wonders to the dead are shown, 

(The wonders of redeeming love;) 
No voice his glorious truth makes known, 
Nor sings the bliss of climes above. 

6 Silence, and solitude, and gloom, 

In these forgetful realms appear; 
Deep sorrows fill the dismal tomb, 
And hope shall never enter there. 

255 L- m. 

RETURN, O wanderer, return, 
And seek an injured Father's face ; 
Those warm desires that in thee burn 
Were kindled by reclaiming grace. 

2 Return, O wanderer, return, 

And seek a Father's melting heart ; 
His pitying eyes thy grief discern, 

His hand shall heal thine inward smart. 

3 Return, O wanderer, return ; 

Thy Saviour bids thy spirit live ; 
Go to his bleeding feet, and learn 
How freely Jesus can forgive. 

4 Return, O wanderer, return, 

And wipe away the falling tear ; 
'Tis God who says, "No longer mourn;" 
'Tis mercy's voice invites thee near. 

William B. Collyer. 



From Collyer's Hymns, London, 1812. 
Six stanzas. These are one, two, four, and 
five, unaltered. The author's title was 
"The Backslider," and the Scripture basis 
Jeremiah xxxi. 18-20. 

One of the saddest reflections in the 
history of Christendom is the thought 
that many having found the way of life 
are led to turn away from it. Great care 
should be taken to keep believers in the 
faith and to restore such as have fallen 

256 L- M. 

COME, sinners, to the gospel feast ; 
Let every soul be Jesus' guest ; 
Ye need not one be left behind, 
For God hath bidden all mankind. 

2 Sent by my Lord, on you I call ; 
The invitation is to all : 

Come, all the world ! come, sinner, thou ! 
All things in Christ are ready now. 

3 Come, all ye souls by sin oppressed, 
Ye restless wanderers after rest ; 

Ye poor, and maimed, and halt, and blind, 
In Christ a hearty welcome find. 

4 My message as from God receive ; 
Ye all may come to Christ and live : 
O let his love your hearts constrain, 
Nor suffer him to die in vain. 

5 See him set forth before your eyes, 
That precious, bleeding sacrifice ! 
His offered benefits embrace, 

And freely now be saved by grace. 

Charles Wesley. 

"The Great Supper" is the title to this 
impressive hymn of invitation and wel- 
come to the sinner. It is based on Luke 
xiv. 16-24. It was first published in 1747 
in the author's Hymns for Those That 
Seek and Those That Have Redemption in 
the Blood of Jesus Christ. The original 
has twenty-four stanzas, this being the 
first, second, twelfth, twentieth, and twen- 
ty-second. Some of the omitted stanzas 
have a "quaint simplicity" and use a 
"plainness of speech" that makes them 
well worth quoting: 

Jesus to you his fullness brings, 
A feast of marrow and fat things. 

Do not begin to make excuse, 
Ah ! do not you his grace refuse. 

Your grounds forsake, your oxen quit, 
Your every earthly thought forget, 
Seek not the comforts of this life, 
Nor sell your Saviour for a wife. 

"Have me excused," why will ye say? 
Why will ye for damnation pray? 
Have you excused — from joy and peace! 
Have you excused — from happiness : 

Excused from coming to a feast ! 
Excused from being Jesus' guest ! 
From knowing now your sins forgiven, 
From tasting here the joys of heaven ! 

Excused, alas ! why should you be 
From health, and life, and liberty, 
From entering into glorious rest, 
From leaning on your Saviour's breast? 

Sinners my gracious Lord receives, 
Harlots, and publicans, and thieves ; 
Drunkards, and all ye hellish crew, 
I have a message now to you. 

The worst unto my supper press, 
Monsters of daring wickedness, 
Tell them my grace for all is free, 
They cannot be too bad for me. 

In July, 1790, Jesse Lee preached the 
first Methodist sermon ever delivered in 
Boston, Mass. Having spent a week try- 
ing to find a place to preach at, but find- 
ing all places of worship closed against 
him and his Methodist Arminian "heresy," 
he concluded to preach in the open air on 
the Common. He borrowed a table from 
some one living near by, and, placing it 
under the shade of the famous Old Elm lo- 
cated near the center of the Common, he 
mounted it, and, with an audience of only 
five persons, began singing: 

Come, sinners, to the gospel feast; 
Let every soul be Jesus' guest : 
Ye need not one be left behind, 
For God hath bidden all mankind. 

He sung the whole hymn through. Nor 
could anything be more fitting for the in- 
troduction of Methodism into new soil, for 
it is a hymn that is full of the central doc- 
trine of Wesleyan theology — an unlimited 
atonement. They had never heard such 



hymns and such preaching in Calvinistic 
New England before. Before he had fin- 
ished his sermon he had an audience of 
nearly three thousand, and on the succeed- 
ing Sabbath an even larger number. In 
1876, we may add, this historic old elm 
tree was blown down in a severe storm. 
The Methodist preachers of the city re- 
solved to have a large armchair made of 
some of the wood of the tree, to be pre- 
served as a memorial of the introduction 
of Methodism into Boston. On the day of 
its presentation to the Preachers' Meet- 
ing (in 1879) an able and interesting his- 
torical paper was read by Dr. (since Bish- 
op) Mallalieu, and a historical poem by 
Dr. Studley.* 

257 7s. 

COME, said Jesus' sacred voice, 
Come, and make my path your choice ; 
I will guide you to your home ; 
Weary pilgrim, hither come. 

2 Thou who, houseless, sole, forlorn, 
Long hast borne the proud world's scorn, 
Long hast roamed the barren waste, 
Weary pilgrim, hither haste. 

3 Ye who, tossed on beds of pain, 
Seek for ease, but seek in vain ; 
Ye, by fiercer anguish torn, 

In remorse for guilt who mourn ; 

*For several years this historic chair has 
been in the home of the Methodist bishop res- 
ident in Boston. It was in April, 1905, and 
in Boston, that the last meeting of the four 
editors of this Hymnal (Drs. Stuart, Tillett, 
Lutkin, and Harrington) was held for the 
purpose of concluding their long and arduous 
labors and giving the finishing touches to the 
revised proofs of all the hymns and tunes. 
Their place of meeting was not far from the 
historic spot where Methodism began its mis- 
sion in this city, now grown to be the great 
American metropolis of letters, and the cir- 
cumstance above mentioned was a frequent 
subject of interested conversation among the 
editors. Bishop Goodsell, himself a member 
of the Hymnal Commission, invited the ed- 
itors to a much-enjoyed luncheon, one of the 
most pleasant incidents of which was to ex- 
amine and sit in this most interesting and 
now famous chair, the preservation of which 
by the Methodists of Boston may well be 
made a matter of pardonable pride. 

4 Hither come, for here is found 
Balm that flows for every wound, 
Peace that ever shall endure, 
Rest eternal, sacred, sure. 

Anna L. Barbauld. 

Title: "Invitation." Prom the author's 
Poems, revised edition, 1792. It is based 
on Matthew xi. 28: "Come unto me, all ye 
that labor and are heavy-laden, and I will 
give you rest." 

The third stanza is made up of the first 
half of the third and fourth of the orig- 
inal. The last couplets of these stanzas 
are as follows: 

Ye whose swollen and sleepless eyes 
Watch to see the morning rise. 

Here repose your heavy care : 
Who the stings of guilt can bear? 

The last stanza the author began with, 
"Sinner, come," etc. 


L. M. 


O ! every one that thirsts, draw nigh ; 

'Tis God invites the fallen race : 
Mercy and free salvation buy ; 

Buy wine, and milk, and gospel grace. 

2 Come to the living waters, come ! 

Sinners, obey your Maker's call ; 
Return, ye weary wanderers, home, 
And find my grace is free for all. 

3 See from the rock a fountain rise ; 

For you in healing streams it rolls ; 
Money ye need not bring, nor price, 
Ye laboring, burdened, sin-sick souls. 

4 Nothing ye in exchange shall give ; 

Leave all you have and are behind ; 
Frankly the gift of God receive ; 
Pardon and peace in Jesus find. 

Charles Wesley. 

These are the first four of the thirty- 
one stanzas which constitute the author's 
paraphrase of the fifty-fifth chapter of 
Isaiah. The first verse furnished the ba- 
sis for the above stanzas: "Ho, every one 
that thirsteth, come ye to the waters, and 
he that hath no money; come ye, buy, and 
eat; yea, come, buy wine and milk with- 
out money and without price." 

This hymn is found in Hymns and Sa- 



cred Poems, 1740. This volume bears on 
its title-page the names of both John and 
Charles Wesley. Previous to 1749 the two 
brothers published most of their volumes 
of hymns conjointly and agreed not to 
distinguish their hymns as to authorship; 
but after this date all the hymn books is- 
sued bore the name of Charles Wesley 
alone. Richard Green, an authority in 
Methodist bibliography, says that this 
hymn "is attributed to John Wesley ac- 
cording to the almost universal testi- 
mony;" but the editors of the new Wes- 
leyan Methodist Hymn Book and Telford, 
author of The Methodist Hymn Book Il- 
lustrated, and other Methodist authorities 
pronounce in favor of Charles Wesley as 
the author. 


7, 8, 7, 4, 7. 

COME, ye sinners, poor and needy, 
Weak and wounded, sick and sore ; 
Jesus ready stands to save you, 
Full of pity, love, and power : 

He is able, 
He is willing: doubt no more. 

2 Now, ye needy, come and welcome ; 

God's free bounty glorify ; 
True belief and true repentance, 
Every grace that brings you nigh, 

Without money, 
Come to Jesus Christ and buy. 

3 Let not conscience make you linger, 

Nor of fitness fondly dream ; 
All the fitness he requireth 
Is to feel your need of him : 

This he gives you ; 
'Tis the Spirit's glimmering beam. 

4 Come, ye weary, heavy-laden, 

Bruised and mangled by the fall ; 
If you tarry till you're better, 
You will never come at all ; 

Not the righteous — 
Sinners Jesus came to call. 

Joseph Hart. 

The original has seven stanzas. These 
are the first four. The author's title is: 
"Come and Welcome to Jesus Christ." 
From Hymns, Composed on Various Sub- 
jects, by J. Hart. Date of preface, 1759. 

A few lines have been changed, 
published the first line: 


Come, ye sinners, poor and wretched. 

And the fourth: 

Full of pity joined with power. 

For more than sixty years this hymn 
stood No. 2 in the Methodist collection. 
It is a favorite invitation hymn, and thou- 
sands have decided to accept Christ while 
it was being sung. It compels thought 
and meets several of the excuses common- 
ly given for not accepting Christ. 


C. M. 

COME, humble sinner, in whose breast 
A thousand thoughts revolve ; 
Come, with your guilt and fear oppressed, 
And make this last resolve: 

2 I'll go to Jesus, though my sin 

Like mountains round me close ; 
I know his courts, I'll enter in, 
Whatever may oppose. 

3 Prostrate I'll lie before his throne, 

And there my guilt confess ; 

I'll tell him I'm a wretch undone 

Without his sovereign grace. 

4 Perhaps he will admit my plea, 

Perhaps will hear my prayer ; 
But, if I perish, I will pray, 
And perish only there. 

5 I can but perish if I go ; 

I am resolved to try ; 
For if I stay away, I know 
I must forever die. 

Edmund Jones. 

Title: "The Successful Resolve.'' Based 
on Esther iv. 16: "And so will I go in unto 
the king, which is not according to the 
law: and if I perish, I perish." Also v. 
2: "And it was so, when the king saw 
Esther the queen standing in the court, 
that she obtained favor in his sight; and 
the king held out to Esther the golden 
scepter that was in his hand." It first 
appeared in Rippon's Selection, 1787, with 
seven stanzas. The two omitted stanzas 



4 I'll to the gracious King approach, 
Whose sceptre pardon gives ; 
Perhaps he may command my touch, 
And then the suppliant lives. 

7 But, if I die with mercy sought, 
When I the King have tried, 
This were to die (delightful thought!) 
As sinner never died. 

Instead of line two, in the second stan- 
za given above, the author wrote: "Hath 
like a mountain rose" 

Of all the invitation hymns used in the 
revivals of the Methodist Church of Amer- 
ica during the past century, this was per- 
haps the most popular and useful. No 
hymn was sung so often as this imme- 
diately following the earnest exhortation 
and invitation to sinners with which 
Methodist preachers were wont to close 
their sermons. As sung to the old tunes. 
Fairfield and Tennessee, it brought to 
tears and to repentance — and to the peni- 
tent's altar — many a soul convicted of 
sin. However, it is not popular now as 
it once was. 

It has been objected that the "perhaps" 
of the fourth verse is misleading and 
false, as there is no "perhaps" about God's 
saving the true penitent. But the hymn 
is strictly true to nature in that it de- 
scribes the thoughts and feelings of the 
penitent, or at least of many penitents, in 
approaching the altar and seeking the for- 
giveness of sins. It is not the language 
of God or of the preacher, but of a half- 
trusting penitent that is here introduced. 



COME, every soul by sin oppressed, 
There's mercy with the Lord, 
And he will surely give you rest, 
By trusting in his word. 


Only trust him, only trust him, 

Only trust him now ; 
He will save you, he will save you, 

He will save you now. 

2 For Jesus shed his precious blood 
Rich blessings to bestow ; 

Plunge now into the crimson flood 
That washes white as snow. 

3 Yes, Jesus is the Truth, the Way, 

That leads you into rest; 

Believe in him without delay, 

And you are fully blest. 

4 Come then, and join this holy band, 

And on to glory go, 
To dwell in that celestial land, 
Where joys immortal flow. 

John H. Stockton. 

Ira D. Sankey, in his Story of the Gos- 
pel Hymns, says: "While on the way to 
England with Mr. Moody, in 1873, one day 
in mid-ocean, as I was looking over a list 
of hymns in my scrapbook, I noticed one 
commencing, 'Come, every soul by sin op- 
pressed,' written by the Rev. John Stock- 
ton, with the familiar chorus: 

Come to Jesus, come to Jesus, 
Come to Jesus just now. 

Believing that these words had been so 
often sung that they were hackneyed, I 
decided to change them and tell how to 
come to Jesus by substituting the words: 
'Only trust him.' In this form it was pub- 
lished in Sacred Songs and Solos." 

In singing the chorus Mr. Sankey some- 
times changed it to "I will trust him," 
and sometimes to "I do trust him." As 
an invitation hymn it has been a help and 
a blessing to many people. 


263 7s. 61. 

EARY souls, that wander wide 
From the central point of bliss, 

Turn to Jesus crucified, 

Fly to those dear wounds of his ; 

Sink into the purple flood, 

Rise into the life of God. 

2 Find in Christ the way of peace, 
Peace unspeakable, unknown ; 

By his pain he gives you ease, 

Life by his expiring groan : 
Rise, exalted by his fall, 
Find in Christ your all in all. 

3 O believe the record true, 
God to you his Son hath given ; 

Ye may now be happy too, 

Find on earth the life of heaven 



Live the life of heaven above, 
All the life of glorious love. 

Charles Wesley. 

"The Invitation" is the title of this in 
the author's Redemption Hymns, 1747. 
The last stanza is omitted: 

4 This the universal bliss, 

Bliss for every soul designed; 

God's primeval promise this, 

God's great gift to all mankind : 

Blest in Christ this moment be, 

Blest to all eternity 1 

In verse one, line one, the author wrote 
"who" instead of "that," and in verse 
three, line four, "Live" instead of "Find." 


C. M. 

JESUS, thou all-redeeming Lord, 
Thy blessing we implore : 
Open the door to preach thy word, 
The great, effectual door. 

2 Gather the outcasts in, and save 

From sin and Satan's power ; 

And let them now acceptance have, 

And know their gracious hour. 

3 Lover of souls ! thou knowest to prize 

What thou hast bought so dear : 
Come, then, and in thy people's eyes 
With all thy wounds appear. 

4 The hardness of their hearts remove, 

Thou who for all hast died ; 
Show them the tokens of thy love, 
Thy feet, thy hands, thy side. 

5 Ready thou art the blood to apply, 

And prove the record true ; 
And all thy wounds to sinners cry. 
"I suffered this for you !" 

Charles Wesley. 

From Hymns and Sacred Poems, 1749. 
The author's title is: ''Before Preaching 
to the Colliers in Leicestershire." It is 
composed of verses one, two, six, and nine 
of a hymn of eighteen stanzas. 

The author wrote '"stony" instead of 
"hardness" in verse four. Among the 
omitted stanzas are the following, which 
contain great beauties and great defects: 

Thy feet were nailed to yonder tree 
To trample down their sin : 

Thy hands they all stretched out may ! 
To take the murderers in. 

Thy side an open fountain is, 

Where all may freely go, 
And drink the living streams of bliss, 

And wash them white as snow. 


S. M. 

THAT I could repent! 

O that I could believe! 
Thou, by thy voice omnipotent, 

The rock in sunder cleave. 

2 Thou, by thy two-edged sword, 

My soul and spirit part ; 
Strike with the hammer of thy word, 
And break my stubborn heart. 

3 Saviour, and Prince of Peace, 

The double grace bestow ; 
Unloose the bands of wickedness. 
And let the captive go. 

4 Grant me my sins to feel, 

And then the load remove : 
Wound, and pour in, my wounds to heal, 
The balm of pard'ning love. 

Charles Wesley. 

This is from the author's Hymns and 
Sacred Poems, 1749, being the first two 
of six double stanzas. It is one of thirty- 
seven hymns that bear the title, "For One 
Fallen from Grace." In the third line of 
the first stanza the author wrote: "Thou 
by thy voice the marble rent." 


S. M. 

THAT I could repent ! 

With all my idols part, 
And to thy gracious eye present 

A humble, contrite heart : 

2 A heart with grief oppressed 

For having grieved my God ; 

A troubled heart that cannot rest 

Till sprinkled with thy blood. 

3 Jesus, on me bestow 

The penitent desire ; 
With true sincerity of woe 
My aching breast inspire : 

4 With softening pity look, 

And melt my hardness down ; 
Strike with thy love's resistless stroke, 
And break this heart of stone ! 

Charles Wesley. 



From Volume I. of Charles Wesley's 
Hymns and Sacred Poems, 1749. There 
are thirty-seven hymns with this title: 
"For One Fallen from Grace" 

Backsliding is no new thing. This 
hymn is the first half of No. 28 of these 
hymns. The author wrote "effectual" in- 
stead of "resistless" in verse four, line 
three. It is well adapted to the purpose 
for which it was written. 


L. M. 

A BROKEN heart, my God, my King, 
To thee a sacrifice I bring: 
The God of grace will ne'er despise 
A broken heart for sacrifice. 

2 My soul lies humbled in the dust, 
And owns thy dreadful sentence just : 
Look down, O Lord, with pitying eye, 
And save the soul condemned to die. 

3 Then will I teach the world thy ways ; 
Sinners shall learn thy sovereign grace ; 
I'll lead them to my Saviour's blood, 
And they shall praise a pardoning God. 

4 O may thy love inspire my tongue ! 
Salvation shall be all my song ; 
And all my powers shall join to bless 
The Lord, my strength and righteousness. 

Isaac Watts. 

This is a portion of Part III. of the au- 
thor's metrical version of the fifty-first 
Psalm, being based more immediately on 
the seventeenth verse: "The sacrifices of 
God are a broken spirit; a broken and a 
contrite heart, O God, thou wilt not de- 
spise." The author's title is: ''The Back- 
slider Restored; or, Repentance and Faith 
in the Blood of Christ." It is found in his 
Psalms of David, 1719. The first four 
verses are omitted above: 

1 O Thou, who hear'st when sinners cry, 
Though all my crimes before thee lie, 
Behold them not with angry look, 
But blot their mem'ry from thy book. 

2 Create my nature pure within, 

And form my soul averse from sin: 

Let thy good Spirit ne'er depart, 

Nor hide thy presence from my heart. 

3 I cannot live without thy light, 

Cast out and banish' d from thy sight ! 

Thy holy joys, my God, restore, 
And guard me that I fall no more. 

4 Though I have grieved thy Spirit, Lord, 
Thy help and comfort still afford ; 
And let a wretch come near thy throne, 
To plead the merits of thy Son. 

This historic paraphrase of the fifty- 
first Psalm by Dr. Watts is in three parts. 
Part I. is found in No. 270. Part II. is 
omitted. It is titled: "Original and Actual 
Sin Confessed." It gives expression to a 
view of original sin which is but seldom 
preached now. As many would like to 
have this famous poetic paraphrase com- 
plete, we present here the omitted Part 
II., with the Scripture on which it is 

Behold, I was shapen in iniquity ; and in 
sin did my mother conceive me. Behold, thou 
desirest truth in the inward parts : and in the 
hidden part thou shalt make me to know wis- 
dom. Purge me with hyssop, and I shall be 
clean: wash me, and I shall be whiter than 
snow. Make me to hear joy and gladness ; 
that the bones which thou hast broken may 

1 Lord, I am vile, conceived in sin, 
And born unholy and unclean ; 
Sprung from the man whose guilty fall 
Corrupts his race, and taints us all. 

2 Soon as we draw our infant breath, 
The seeds of sin grow up for death ; 
Thy law demands a perfect heart, 
But we're defiled in every part. 

3 Great God, create my heart anew, 
And form my spirit pure and true ; 
And make me wise betimes to spy 
My danger and my remedy ! 

4 Behold! I fall before thy face; 
My only refuge is thy grace : 

No outward forms can make me clean ; 
The leprosy lies deep within. 

5 No bleeding bird, nor bleeding beast, 
Nor hyssop branch, nor sprinkling priest, 
Nor running brook, nor flood, nor sea, 
Can wash the dismal stain away. 

6 Jesus, my God, thy blood alone 
Hath power sufficient to atone ; 

Thy blood can make me white as snow : 
No Jewish types could cleanse me so. 



7 While guilt disturbs and breaks my peace-, 
Xor flesh nor soul hath rest or ease, 
Lord, let me hear thy pard'ning voice, 
And make my broken bones rejoice. 




EPTH of mercy ! can there be 
Mercy still reserved for me? 
Can my God his wrath forbear- 
Me, the chief of sinners, spare? 

2 I have long withstood his grace ; 
Long provoked him to his face; 
"Would not hearken to his calls ; 
Grieved him by a thousand falls. 

3 Now incline me to repent ; 
Let me now my sins lament ; 
Now my foul revolt deplore, 
Weep, believe, and sin no more. 

4 Kindled his relentings are ; 
Me he now delights to spare ; 
Cries, "How shall I give thee up?" 
Lets the lifted thunder drop. 

5 There for me the Saviour stands. 
Shows his wounds and spreads his hands ; 
God is love ! I know, I feel ; 

Jesus weeps and loves me still. 

Charles Wesley. 

The author's title is: "After a Relapse 
into Sin." 

This song, so full of poetry and tender- 
ness, is made up of verses one, two, thir- 
teen, seven, and nine of the original. One 
word only has been changed. Wesley 
wrote "falT 1 instead of "sins" in verse 
three, line two. 

From Hymns and Sacred Poems, by 
John and Charles Wesley, London, 1740. 

A story is told of an English actress who 
was led into a cottage prayer meeting by- 
hearing this hymn sung as she was passing 
by. She was deeply convicted of sin, and 
soon afterwards found pardon. Having giv- 
en her heart to God, she resolved to leave the 
stage ; but her manager urged her to play 
once more, representing that his disappoint- 
ment and loss would be great unless she con- 
sented to appear. At last she yielded to his 
request. Her part was introduced by a song. 
When the curtain rose, the orchestra began 
the accompaniment ; but she did not sing. 
Supposing that she was confused, the band 
played the air again. Still she was silent. 
At length, with her hands clasped and her 

eyes suffused with teai 
song of the play, but : 

she sang, not the 

"Depth of mercy ! can there be 
Mercy still reserved for me? 
Can my God his wrath forbear — 
Me, the chief of sinners, spare?" 

The performance suddenly ended and the 
people scattered, some ridiculing her act, oth- 
ers reflecting upon the power of religion. It 
is said that the woman became a consistent 
Christian and afterwards was the wife of a 
minister of the gospel. 


C. M. 


OW sad our state by nature is ! 

Our sin, how deep it stains ! 
And Satan binds our captive souls 

Fast in his slavish chains. 

2 But there's a voice of sovereign grace 

Sounds from the sacred word : 
"Ho ! ye despairing sinners, come, 
And trust a faithful Lord." 

3 My soul obeys the gracious call, 

And runs to this relief : 
I would believe thy promise, Lord ; 
O help my unbelief ! 

4 To the blest fountain of thy blood, 

Incarnate God, I fly ; 
Here let me wash my spotted soul 
From crimes of deepest dye. 

5 A guilty, weak, and helpless worm, 

Into thy arms I fall : 
Be thou my strength and righteousness, 
My Jesus and my all. 

Isaac Watts. 

From Hymns and Spiritual Songs. 1707. 
Author's title: "Faith in Christ for Par- 
don and Sanctification." The original has 
"captive minds" in the first stanza, "trust 
upon the Lord" in the second, "almighty 
call" in the third, "dear fountain" in the 
fourth, and "On thy kind arms" in the last 
verse. These changes were made by John 
Wesley. The fifth stanza of the original 
is omitted above: 

5 Stretch out thine arm, victorious King, 
My reigning sins subdue. 
Drive the old Dragon from his seat, 
With all his hellish crew. 

Although this hymn is not often sung 



now, it has a large place in Christian bi- 

Dr. Spencer, in his Pastor's Sketches, 
gives the following touching account of a 
young woman who suddenly obtained 
peace by faith in Christ after a long peri- 
od of gloom: 

One evening, on his way to church, he 
called at her home. He found her just where 
she had been for many weeks. On leaving 
her he said : "I would aid 3 r ou most willing- 
ly if I could, but I can do you no good." "I 
do not think you can," said she calmly, "but 
I hope you will still come to see me." "Yes, 
I will," said he ; "but all I can say is, I know 
there is salvation for you ; but you must re- 
pent, and you must flee to Christ." On reach- 
ing the church he gave out the hymn closing 
with the stanza : 

"A guilty, weak, and helpless worm." 

The next day she came to see him to tell 
him she had made a new discovery ; and on 
asking her what it was, she said : "Why, sir, 
the way of salvation all seems to me perfect- 
ly plain. My darkness is all gone. I see now 
what I never saw before. All is light to me. 
I see my way clear, and I am not burdened 
and troubled as I was. I do not know how it 
is or what has brought me to it ; but when 
you were reading that hymn last night, I saw 
the whole way of salvation for sinners per- 
fectly plain, and wondered that I had never 
seen it before. I saw that I had nothing to 
do but trust in Christ — 

'A guilty, weak, and helpless worm, 
Into thy arms I fall.' 

I sat all the evening just looking at that 
hymn. I did not hear your prayer. I did 
not hear a word of your sermon. I do not 
know your text. I thought of nothing but 
that hymn, and I have been thinking of it 
ever since. It is so light and makes me so 
contented. Why, sir, don't you think that 
the reason we don't get out of darkness soon- 
er is that we don't believe?" 

The Rev. George Marsden records of one 
of his interviews with the Rev. Richard 
Watson, during his last illness, with what 
pleasure the suffering divine spoke on the 
subject of Christ crucified. He dwelt for 
some time on its infinite importance as 
the only foundation on which to rest for 
pardon, acceptance with God, and eternal 

life. He then spoke of his own unworthi- 
ness and of his first reliance on the atone- 
ment, and repeated with solemn and deep 
feeling this verse: 

"A guilty, weak, and helpless worm, 
Into thy arms I fall : 
Be thou my strength and righteousness, 
My Saviour and my all." 

He died in London January 8, 1833, aged 
fifty-one years. Dr. Doddridge told his 
theological students at Northampton on 
one occasion that he wished his last words 
might be these same words of Watts just 

In June, 1736, three days after his ordi- 
nation, George Whitefield wrote to a 
friend: "Never a poor creature set up with 
so small a stock. . . . Help, help me, 
my dear friend, with your warmest ad- 
dresses to the throne of grace. At pres- 
ent this is the language of my heart, 

"A guilty, weak, and helpless worm," etc. 

On July 19, 1738, Charles Wesley and 
his friends sang this hymn with the crim- 
inals on their way to Tyburn. The poet 
found "that hour under the gallows the 
most blessed hour of his life." 


L. M. 

STAY, thou insulted Spirit, stay, 
Though I have done thee such despite ; 
Nor cast the sinner quite away, 

Nor take thine everlasting flight. 

2 Though I have steeled my stubborn heart, 

And shaken off my guilty fears ; 

And vexed, and urged thee to depart, 

For many long rebellious years : 

3 Though I have most unfaithful been, 

Of all who e'er thy grace received ; 
Ten thousand times thy goodness seen ; 
Ten thousand times thy goodness grieved : 

4 Yet, O, the chief of sinners spare, 

In honor of my great High Priest ; 
Nor in thy righteous anger swear 

To exclude me from thy people's rest. 

Charles Wesley. 

Title: "Penitential Hymn" From 
Hymns and Sacred Poems, by Charles 



Wesley, two volumes, 1749. In the last 
line of the second stanza the author wrote 
"forty" instead of "many." 

Wesley was forty-two years old when he 
published these volumes. There are three 
additional stanzas: 

5 This only woe I deprecate, 

This only plague, I pray, remove, 
Nor leave me in my lost estate, 

Nor curse me with this want of love. 

6 If yet thou canst my sins forgive, 

From now, O Lord, relieve my woes, 
Into Thy rest of love receive, 

And bless me with the calm repose. 

7 From now my weary soul release, 

Upraise me by Thy gracious hand, 
And guide into Thy perfect peace, 
And bring me to the promised land. 

270 L, M. 

SHOW pity, Lord ; O Lord, forgive ; 
Let a repenting rebel live : 
Are not thy mercies large and free? 
May not a sinner trust in thee? 

2 My crimes are great, but don't surpass 
The power and glory of thy grace : 
Great God, thy nature hath no bound ; 
So let thy pardoning love be found. 

3 O wash my soul from every sin, 

And make my guilty conscience clean ! 
Here on my heart the. burden lies, 
And past offenses pain my eyes. 

4 My lips with shame my sins confess, 
Against thy law, against thy grace ; 
Lord, should thy judgments grow severe, 
I am condemned, but thou art clear. 

5 Yet save a trembling sinner, Lord, 
Whose hope, still hov'ring round the word, 
Would light on some sweet promise there, 
Some sure support against despair. 

Isaac Watts. 

"A Penitent Pleading for Pardon" is 
the title of this hymn in the author's 
Psalms of David, 1719. The author's met- 
rical version of the fifty-first Psalm is in 
three parts; this is part one. One stanza 
of the original is omitted: 

5 Should sudden vengeance seize my breath, 
I must pronounce thee just in death; 
And if my soul were sent to hell, 
Thy righteous law approves it well. 

The hymn is based on the first four verses 
of the Psalm: 

Have mercy upon me, O God, according to 
thy loving-kindness : according unto the multi- 
tude of thy tender mercies blot out my trans- 
gressions. Wash me thoroughly from mine 
iniquity, and cleanse me from my sin. For I 
acknowledge my transgressions : and my sin 
is ever before me. Against thee, thee only, 
have I sinned, and don" this evil in thy sight: 
that thou mightest be justified when thou 
speakest, and be clear when thou judgest. 

The three parts should be studied in 
connection with each other and in connec- 
tion with the Psalm upon which it is 
based — the most tender and pathetic of all 
the penitential Psalms. Thus part one is 
titled "A Penitent Pleading for Pardon:" 
part two (beginning, "Lord, I am vile," 
etc.), "Original and Actual Sin Con- 
fessed;" and part three (beginning, "A 
broken heart, my God, my King"), "The 
Backslider Restored; or. Repentance and 
Faith in the Blood of Christ." (See note 
under No. 266.) As sung to the old tune 
called "Devotion" (or "The Penitent"). 
it was regarded as perhaps the most ten- 
der, pathetic, and heart-searching of all 
the penitential hymns by a former gen- 
eration; but it is not now so popular as it 
once was. 

Dr. C. S. Robinson has a suggestive note 
upon this hymn: 

The author of the twenty-fifth Psalm in 
his prayer for forgiveness brings forward an 
argument which is startling in its originality : 
"For thy name's sake, O Lord, pardon mine 
iniquity ; for it is great." He does not say : 
"Forgive me, for I have dune much good in 
my day, and am going to do more." He does 
not say : "Restore me to thy favor, for I have 
not done much evil when my poor chances 
are fairly considered." He takes his stand 
like one most anxiously candid. He blurls 
out the whole truth, and urges it without an 
extenuation or apology. He says : "Pardon 
me, for I am a great sinner." He plants 
himself on his unworthiness ; he argues from 
demerit. Now this is so contrary to all hu- 
man notions of pleading that it awakes curi- 
osity. We say to our fellow-men on slightest 
occasion : "Pardon me ; I did not mean to." 



This penitent says : "Pardon me ; I did mean 
to." And as a final result we know this 
prayer was answered perfectly. We are con- 
strained on the instant to recognize a virtue, 
unmistakable and unparalleled, in super- 
abounding grace, as a principle of the gospel. 

"Man's plea to man is that he nevermore 
Will beg, and that he never begged before ; 
Man's plea to God is, that he did obtain 
A former suit, and therefore comes again. 
How good a God we serve, who, when we sue, 
Makes his old gifts the examples of the 

It seems, therefore, to be the unusual rule 
for our repentance that excuses are excluded 
and aggravations become pleas ; extenuations 
only hinder, self-renunciations prevail. 

271 L- M. 

JESUS, the sinner's Friend, to thee, 
Lost and undone, for aid I flee, 
Weary of earth, myself, and sin ; 
Open thine arms, and take me in. 

2 Pity and heal my sin-sick soul ; 

'Tis thou alone canst make me whole ; 
Dark, till in me thine image shine, 
And lost, I am, till thou art mine. 

3 At last I own it cannot be 

That I should fit myself for thee : 
Here, then, to thee I all resign ; 
Thine is the work, and only thine. 

4 What shall I say thy grace to move? 
Lord, I am sin, but thou art love : 

I give up every plea beside — 
Lord, I am lost, but thou hast died. 

Charles Wesley. 

Text: "But the Scripture hath conclud- 
ed all under sin, that the promise by faith 
of Jesus Christ might be given to them 
that believe." (Gal. iii. 22.) 

Composed of stanzas one, two, ten, and 
twelve of a hymn of thirteen verses. In 
the third line of the second stanza the au- 
thor wrote "FalVn" instead of "Dark;" in 
the fourth line, "cursed" instead of "lost;" 
and in the last line of the hymn, "Lord, I 
am damned''' etc. Charles Wesley some- 
times used strong language, as one of the 
omitted stanzas (the fifth) will illustrate: 

Awake, the woman's conquering Seed, 
Awake, and bruise the serpent's head ! 

Tread down thy foes, with power control 
The beast and devil in my soul. 

From Hymns and Sacred Poems, 1739. 

212 8, 8, 8, 6. 

JUST as I am, without one plea, 
But that thy blood was shed for me, 
And that thou bidd'st me come to thee, 
O Lamb of God, I come ! 

2 Just as I am, and waiting not 
To rid my soul of one dark blot, 

To thee whose blood can cleanse each spot, 
O Lamb of God, I come ! 

3 Just as I am, though tossed about 
With many a conflict, many a doubt, 
Fightings within, and fears without, 

O Lamb of God, I come ! 

4 Just as I am — poor, wretched, blind ; 
Sight, riches, healing of the mind, 
Yea, all I need in thee to find, 

O Lamb of God, I come ! 

5 Just as I am — thou wilt receive, 

Wilt welcome, pardon, cleanse, relieve ; 
Because thy promise I believe, 
O Lamb of God, I come ! 

6 Just as I am — thy love unknown 
Hath broken every barrier down ; 
Now, to be thine, yea, thine alone, 

O Lamb of God, I come ! 

Charlotte Elliott. 

This much-admired and widely useful 
hymn was written in 1834, and was pub- 
hsned in the author's Invalid's Hymn 
Book, second edition, 1836, with the title, 
"Him That Cometh to Me I Will in No 
Wise Cast Out" The history of its au- 
thorship and origin has been told many 
times and with not a few variations. The 
circumstances connected with its origin 
are of more than ordinary interest, and 
call for a note of more than ordinary 

In 1821 Miss Elliott became an invalid and 
remained such until her death, in 1871. When 
Dr. Caesar Malan, of Geneva, visited her fa- 
ther, in May, 1822, he found his invalid 
daughter a stranger to the comforts and joy 
of Christian faith and undertook to talk to 
her on the subject of personal religion. This 
she at first resented, but later apologized to 
her father's friend and visitor for her rude 



treatment of him. She confi B» d her deep in- 
terest in religion, but said she did not know 
how to find Christ and asked his help and 
counsel. Seeing how she was held back from 
the Saviour by her own efforts to make 
herself better and to save herself, he said to 
her: "Dear Charlotte, cut the cable. It will 
take too long to unloose it. Cut it. It is a 
small loss anyway. You must come to Christ 
just as you are." And then, bidding her give 
"one look, silent but continuous, at the cross 
of Jesus," she began to see light. Soon by 
his aid she was enabled to do what all sinners 
must do before they can be saved — viz., go 
to Jesus just as they are, and then simply 
trust him for salvation. For forty years 
thereafter, to the day of Dr. Malan's death, 
she always celebrated the ninth of May as 
her spiritual birthday by writing a letter to 
her spiritual father. 

This hymn, however, was not written 
for twelve years after this occurrence. It 
was on a day in 1834, when she was espe- 
cially despondent over her helplessness 
and apparent uselessness. Other members 
of her family were busy in arranging for 
a bazaar that was to he held for the bene- 
fit of St. Mary's Hall, a school founded 
and conducted by her brother, Rev. H. V. 
Elliott, for the education of clergymen's 
daughters. Bishop H. C. G. Moule, a rel- 
ative of Miss Elliott's family, has written 
as follows of this hymn and the circum- 
stances immediately attending its compo- 

The night before the bazaar she was kept 
wakeful by distressing thoughts of her ap- 
parent uselessness ; and these thoughts passed 
into a spiritual conflict till she questioned the 
reality of her whole spiritual life and won- 
dered whether it were anything better, after 
all, than an illusion of the emotions — an il- 
lusion ready to be sorrowfully dispelled. The 
next day, the busy day of the bazaar, the 
troubles of the night came back upon her 
with such force that she felt they must be 
met and conquered in the grace of God. She 
gathered up in her soul the grand certainties, 
not of her emotions, but of her salvation : her 
Lord, his power, his promise. And taking pen 
and paper from the table, she deliberately 
set down in writing for her own comfort the 
formulae of her faith. So in verse she restat- 
ed to herself the gospel of pardon, peace, and 
heaven. As the day wore on her sister-in- 

law. Mrs. H. V. Elliott, came in to see her 
and bring news of the work. She read the 
hymn and asked (she well might) for a copy. 
So it first stole out from that quiet room into 
the world, where now for sixty years it has 
been sowing and reaping till a multitude 
which only God can number have been blessed 
through its message. 

And so it turned out that the utterly 
helpless invalid did more that day for her 
Lord and for the upbuilding of his king- 
dom than all they who were strong in 
body. Writing simply to ease her own 
heart and to fortify her faith and give ex- 
pression to her feelings of penitence and 
trust, she little realized that she was writ- 
ing a hymn that the world was going to 
make immortal. This little poem was 
written in the first person singular and 
in the present tense, but it went back and 
took in happily some of the simple phrases 
and deep experiences of her spiritual 
birthday, still fresh in mind. There can 
be few penitent believers who fail to find 
these words exactly suited to express their 
own feelings and needs. 

In the latter part of 1836 Miss Elliott 
published a little volume titled Hours of 
Sorrow Cheered and Comforted, in which 
this hymn is republished with the follow- 
ing verse added: 

Just as I am, of that free love, 

The breadth, length, depth, and height to 

Here for a season, then above, 
O Lamb of God, I come ! 

The original does not repeat the words 
"I come" in the fourth line, as is neces- 
sary in singing it to some tunes. 

The published incidents that illustrate 
the widespread popularity and influence 
of this hymn in Christian experience and 
in evangelistic services are numerous, and 
many of them touching and beautiful. 

Before its authorship was generally 
known it is said to have been printed 
anonymously by some one as a leaflet and 
freely distributed. The family physician 
in the Elliott home, seeing a copy of it 



and not knowing anything as to its au- 
thorship, carried it with him into the sick 
chamber of his patient and gave it to her 
to read, saying he knew it would please 
and comfort her. It was a surprise to her, 
but it did indeed please and comfort her 
to know that her physician thought 
enough of it to bring it to her to read. 

The Rev. H. V. Elliott, brother of the 
authoress, said, with reference to this 
hymn: "In the course of a long ministry 
I hope I have been permitted to see some 
fruit of my labors, but I feel that far more 
has been done by a single hymn of my 
sister's." The following incidents, select- 
ed from a large number, will indicate the 
value of this hymn in reaching the hearts 
of both sinners and believers: 

A poor little boy once came to a New York 
city missionary, and holding up a dirty and 
worn-out bit of printed paper, said : "Please, 
sir, father sent me to get a clean paper like 
that." Taking it from his hand, the mission- 
ary unfolded it and found that it was a page 
containing the precious hymn, "Just as I am, 
without one plea." He looked down with deep 
interest into the face so earnestly upturned 
toward him, and asked the little boy where 
he got it and why he wanted a clean one. 
"We found it, sir," said he, "in sister's pock- 
et after she died, and she used to sing it all 
the time she was sick ; and she loved it so 
much that father wanted to get a clean one 
and put it in a frame to hang it up. Won't 
you please to give us a clean one, sir?" 

The son-in-law of the poet Wordsworth 
sent to Miss Elliott a letter telling of the 
great comfort afforded his wife, when on her 
dying bed, by this hymn. Said he : "When I 
first read it I had no sooner finished than she 
said very earnestly, 'That is the very thing 
for me.' At least ten times that day she 
asked me to repeat it; and every morning 
from that day till her decease, nearly two 
months later, the first thing she asked me 
for was her hymn. 'Now my hymn,' she 
would say ; and she would often repeat it aft- 
er me, line for line, in the day and night." 

The Rev. Dr. McCook, while in his pastor- 
ate at St. Louis, was sent for to see a young 
lady who was dying of consumption. He soon 
found that she had imbibed infidelity through 
the influence of a teacher in the normal 
school, and with her keen intellect was en- 
abled to ward off all the arguments of the 

gospel. After exhausting all the argunr nts 
he could think of during his visits, he was ex- 
ceedingly puzzled to know what more to do, as 
she seemed unshaken in her doubts. She at 
length seemed so averse to the subject of re- 
ligion that, when calling one day, she turned 
her face to the wall and seemed to take no 
notice of him. Mr. McCook said : "Lucy, I 
have not called to argue with you another 
word, but before leaving you to meet the is- 
sues of eternity I wish to recite a hymn." He 
then repeated with much emphasis the hymn. 
"Just as I am, without one plea," and then 
bade her adieu. She made no response. He 
was debating for some time whether, after so 
much repugnance, he should call again. But 
realizing her nearness to the eternal world, he 
concluded to make one more visit. Taking 
his seat by her side, she slowly turned around 
in bed. Her sunken eyes shone with unwont- 
ed luster as she placed her thin, emaciated 
hands in his and said slowly and with much 
emotion : 

" 'Just as I am, without one plea, 

But that thy blood was shed for me, 
And that thou bidd'st me come to thee, 
O Lamb of God, I come ! I come !' 

O, sir, I've come! I've come!" That hymn 
told the story. It had decided her eternal 
destiny. It had done what all the logical ar- 
guments had failed to do. She soon after- 
wards peacefully crossed the river. 


L. M. 


Y soul before thee prostrate lies ; 

To thee, her Source, my spirit flies; 
My wants I mourn, my chains I see ; 
O let thy presence set me free. 

2 Jesus, vouchsafe my heart and will 
With thy meek lowliness to fill ; 
No more her power let nature boast, 
But in thy will may mine be lost. 

3 Already springing hope I feel, 
God will destroy the power of hell, 
And, from a land of wars and pain, 
Lead me where peace and safety reign. 

4 One only care my soul shall know, 
Father, all thy commands to do ; 

And feel, what endless years shall prove, 
That thou, my Lord, my God, art love. 
Christian F. Richter. Tr. by John Wesley. 

Title: "Hoping for Grace." 
The translation from the German con- 
tains eleven stanzas. This is made up of 



stanzas one, three, eight, the first couplet 
of nine, and the last couplet of eleven. 
The original of the last couplet of verse 
three was: 

God, from the land of wars and pain, 
Leads me where peace and safety reign. 

We find this translation in Hymns and 
Sacred Poems, London, 1739; but it was 
first published by Wesley in his Collection 
of Psalms and Hymns, Charleston (S. C), 

1737. Between these two dates occurred 
his remarkable experience of May 24, 

1738, when his heart was "strangely 

There is one remarkable stanza in the 
American book that was omitted when he 
republished it in the London book two 
years later: 

I feel well that I love thee, Lord : 
I exercise me in thy Wo:d; 
Yet vile Affections claim a part, 
And thou hast only half my Heart. 

It is just possible that this omitted stanza 
may throw some light upon the much- 
discussed question of Wesley's spiritual 
condition before that memorable May day 
of 1738. 


L. M. 

FOR a glance of heavenly day, 
To take this stubborn heart away, 
And thaw, with beams of love divin", 
This heart, this frozen heart of mine 

2 The rocks can rend ; the earth can quake ; 
The seas can roar ; the mountains shake : 
Of feeling, all things show some sign, 
But this unfeeling heart of mine. 

3 To hear the sorrows thou hast felt, 
O Lord, an adamant would melt : 
But I can read each moving line, 
And nothing moves this heart of mine. 

4 But power divine can do the deed ; 
And, Lord, that power I greatly need : 
Thy Spirit can from dross refine, 

And melt and change this heart of mine. 
Joseph Hart. 

"The Stony Heart" is the title of this 
'melting" hymn in the Supplement of 

Hart's Hymns, 1762. As the fourth stanza 
of the original has been omitted and the 
last stanza has been altered somewhat, we 
give these stanzas as the author wrote 

4 Thy judgments, too, which devils fear — 
Amazing thought ! — unmoved I hear ; 
Goodness and wrath in vain combine 

To stir this stupid heart of mine. 

5 But something yet can do the deed, 
And that clear something much I need; 
Thy Spirit can from dross refine, 
And move and melt this heart of mine. 

It is based on Ezekiel xxxvi. 26: "I 
will take away the stony heart out of your 
flesh, and I will give you a heart of flesh." 

The author of this hymn and of the 
yet more widely known hymn beginning, 
"Come, ye sinners, poor and needy," was 
prepared by experience to write his hymns 
— an experience in sin, in penitence and 
pardon, in backsliding and restoration, 
and in a final absolute surrender and con- 
secration of himself such as few have un- 
dergone—and his hymns reveal in many 
delicate expressions something of this ex- 
perience. When about thirty years of age 
and at the height of his impenitent state, 
just after writing his notorious pamphlet 
on "The Unreasonableness of Religion," 
which was especially directed against 
John Wesley's sermon on Romans viii. 32, 
he settled in Sheerness, Kent, where Rev. 
William Shrubsole (composer of the pop- 
ular tune called "Miles Lane") was pas- 
tor. His example, teachings, and influ- 
ence were so pernicious in the village that 
Mr. Shrubsole and others besought him 
earnestly to leave the community and re- 
turn to London, where his influence would 
be less keenly felt. This he did, but it 
was ten years and more before his life of 
sin ended in penitence and pardon. The 
preface to his volume of Hymns, published 
soon after his entrance upon the Chris- 
tian life, contains "a brief account of the 
author's experience and the great things 
that God hath done for his soul." 



Few sinners have had harder hearts for 
divine grace to melt than did the author 
of this hymn. Let the reader turn to the 
sketch of the author's life in the Biograph- 
ical Index and then re-read the above and 
other hymns by him, and these hymns will 
be found to take on a new meaning when 
thus studied in the light of his remarkable 
career in sin and his no less remarkable 
experience in the religious life and in the 
service of Christ. 

275 s. M. 

AND can I yet delay 
My little all to give? 
To tear my soul from earth away 
For Jesus to receive? 

2 Nay, but I yield, I yield ; 

I can hold out no more : 
I sink, by dying 1 love compelled, 
And own thee conqueror. 

3 Though late, I all forsake; 

My friends, my all, resign : 
Gracious Redeemer, take, O take, 
And seal me ever thine ! 

4 Come, and possess me whole, 

Nor hence again remove ; 
Settle and fix my wavering soul 
With all thy weight of love. 

Charles Wesley. 

Title: "The Resignation." This hymn 
is made of stanzas fifteen to eighteen, in- 
clusive, of a poem of twenty-two verses. 
The following stanza, the fourteenth of 
the poem, throws light upon the first verse 
of this valuable hymn: 

14 My worthless heart to gain, 

The God of all that breathe, 
Was found in fashion as a man, 
And died a cursed death. 

And can I yet delay [etc.]. 

Unaltered from Hymns and Sacred 
Poems, 1740. 



S. M. 

ID Christ o'er sinners weep, 
And shall our cheeks be dry' 

Let floods of penitential grief 
Burst forth from every eye. 

2 The Son of God in tears 

The wondering angels see ! 

Be thou astonished, O my soul : 

He shed those tears for thee. 

3 He wept that we might weep ; 

Each sin demands a tear : 
In heaven alone no sin is found, 
And there's no weeping there. 

Benjamin Beddome. 

"Before Sermon" is the title of this 
hymn as published in Rippon's Selection, 
1787. It is based on Luke xix. 41: "He 
beheld the city, and wept over it." It is 
also found in a posthumous volume of 
Beddome's Hymns, which were collected 
and published by Rev. Robert Hall in 

277 c. m. 

FATHER, I stretch my hands to thee ; 
No other help I know : 
If thou withdraw thyself from me, 
Ah ! whither shall I go? 

2 What did thine only Son endure, 

Before I drew my breath ! 
What pain, what labor, to secure 
My soul from endless death ! 

3 Surely thou canst not let me die; 

speak, and I shall live ; 
And here I will unwearied lie, 

Till thou thy Spirit give. 

4 Author of faith ! to thee I lift 

My weary, longing eyes : 
O let me now receive that gift ! 
My soul without it dies. 

Charles Wesley. 

Title: "A Prayer of Faith." 

From A Collection of Psalms and 
Hymns, published by John Wesley, 1741. 
Six stanzas; these are one, two, five, and 
four, unaltered. The omitted stanzas are: 

3 O Jesus, could I this believe, 

1 now should feel Thy power; 

Now my poor soul Thou wouldst re- 
Nor let me wait one hour. 

6 The worst of sinners would rejoice, 
Could they but see Thy face : 
O. let me hear Thy quickening voice, 
And taste Thy pardoning grace. 



There has been some doubt about the 
authorship of this hymn. In the Wes- 
leyan Collect ion of 1S76 it was marked 
"Unknown." In the recently revised book 
Charles Wesley's name is connected with 
it. If there are no stronger claims, inter- 
nal evidence would give it to Wesley. It 
is a hymn of fine spirit and elevated 
thought beautifully expressed. 


C. M. 

FOR that tenderness of heart 
Which bows before the Lord, 
Acknowledging how just thou art, 
And trembling at thy word ! 

2 O for those humble, contrite tears, 
Which from repentance flow ; 
That consciousness of guilt which fears 
The long-suspended blow ! 

2 Saviour, to me in pity give 
The sensible distr. ss 
Thf pledge thou wilt, at last, receive, 
And bid me die in pe; ; 

Charles Wesley. 

From the author's Short Scripture 
Hymns, 1762. The original has two double 
stanzas, the last four lines of the second 
being omitted above: 

Wilt from the dreadful day remove, 

Before the evil come ; 
My spirit hide with saints above, 

My body in the tomb. 

In the first verse the author wrote "ac- 
knowledges" and "trembles" instead of 
••acknowledging" and "trembling." The 
hymn is based on 2 Kings xxii. 19, 20: 

Because thine heart was tender, and thou 
hast humbled thyself before the Lord, when 
thou heardest what I spake against this 
place, and against the inhabitants thereof, 
that they should become a desolation and a 
curse, and hast rent thy clothes, and wept 
before me : I also have heard thee, saith the 
Lord. Behold therefore. I will gather thee 
unto thy fathers, and thou shalt be gathered 
into thy grave in peace : and thine eyes shall 
not see all the evil which I will bring upon 
this place. 


7s. 61. 

ROCK of Ages, cleft for me, 
Let me hide myself in thee 

Let the water and the blood, 

From thy wounded side which flow. I. 

Be of sin the double c . 

Save from wrath and make me pure. 

2 Could my tears forever flow. 
Could my zeal no languor know, 

for sin could not atone; 
Thou must save, and thou alone: 
In my hand no price I bring: 
Simply to thy cross I cling. 

3 While I draw this fleeting breath. 
When my eyes shall close in death, 
When I rise to worlds unknown. 
And behold thee on thy throne, 
Rock of Ages, cleft for me, 
Let me hide myself in thee. 

Augustus 31. Toplady. Alt. 

This grand and favorite hymn cannot 
be correctly understood so long as it is 
divorced from its original title, "A liv- 
ing and dying Prayer, for the Holiest 
Believer in the World." 

The author's main thought is, the holi- 
est man must say in his prayer: 

Thou must save, and Thou alone. 

The purest saint on earth must cast 
himself wholly on the merits of Christ's 
atonement and say: 

In my hand no price I bring ; 
Simply to Thy cross I cling. 

This hymn first appeared in the Gospel 
Magazine in March, 1776, when Toplady 
was its editor. In its altered and im- 
proved form of three verses it is found 
in A Selection of Psalms and Hymns, ed- 
ited by the Rev. Thomas Couerill, 1815. 
Mr. Cotterill was a notorious hymn-mend- 
er, and it was probably rewritten by him 
for his Collection. 

We here give a reprint of the original: 

Rock of Ages, cleft for me. 
Let me hide myself in Thee ! 
Let the Water and the Blood, 
From thy riven Side which flow'd. 
Be of Sin the double Cure, 
Cleanse me from its Guilt and Pow'r. 


Xot the Labours of my Hands 
Can fulfill thy Law's demands : 



Could my Zeal no respite know, 
Could my Tears forever flow, 
All for Sin could not atone : 
Thou must save, and Thou alone ! 

Nothing in my Hand I bring ; 
Simply to thy Cross I cling ; 
Naked, come to Thee for Dress ; 
Helpless, look to Thee for Grace ; 
Foul, I to the Fountain fly : 
Wash me, Saviour, or I die ! 

Whilst I draw this fleeting Breath — 
When my Eye-strings break in Death — 
When I soar through tracts unknown — 
See Thee on thy Judgment Throne — 
Rock of Ages, cleft for me, 
Let me hide myself in Thee ! 

A. T. 

This hymn is a universal favorite. The 
British Premier, the Right Hon. W. E. 
Gladstone, made a version of it in Latin 
and another in Greek. Many persons, and 
among them Prince Albert of England, 
have used it as a dying prayer. 

The steamship London was lost in the 
Bay of Biscay in 1866. The last man that 
escaped said that when he left the ship 
the passengers were singing: 

Rock of Ages, cleft for me, 
Let me hide myself in Thee. 

Many people think that this is the best 
hymn in the language, the first hymn of 
the first rank. We believe, however, that 
it would never have won this place in its 
original form. Compare the two versions: 
"Riven," in the first stanza, is not correct 
and not scriptural; "wounded," in the re- 
vision, is both. "He was wounded for our 
transgressions." In the last couplet of 
the first verse "cure" does not rhyme with 
"power." It does rhyme with "pure" of 
the revision. The first couplet of the sec- 
ond stanza is not rhythmic, and is well 
left out. The same must be said of the 
last couplet of the third verse. "Naked" 
is not a pleasant word to sing in public, 
and is eliminated. All the cream of Top- 
lady's second and third stanzas is gath- 
ered in the second stanza of the revision. 

In the last stanza the original, "When my 
eye-strings break in death," is shocking, 
while the revised line is comforting and 
fine. We gladly admit that the great mer- 
its of the hymn belong to Toplady. At 
the same time he deserves criticism for 
his careless and faulty work. We repeat 
that much of the popularity and useful- 
ness of the hymn is due to the revision 
made by Thomas Cotterill and James 

The merits of this hymn are confessed- 
ly great. It is saturated with the spirit 
of prayer, and it brings out clearly the 
utter dependence of the soul upon Christ 
alone for salvation. To write a hymn so 
popular and so useful is a privilege an 
angel might ccvet. 


280 7s. 61. 

Y thy birth, and by thy tears ; 

By thy human griefs and fears ; 
By thy conflict in the hour 
Of the subtle tempter's power, 
Saviour, look with pitying eye ; 
Saviour, help me, or I die. 

2 By the tenderness that wept 

O'er the grave where Lazarus slept ; 
By the bitter tears that flowed 
Over Salem's lost abode, 
Saviour, look with pitying eye ; 
Saviour, help me, or I die. 

3 By thy lonely hour of prayer ; 
By thy fearful conflict there ; 
By thy cross and dying cries ; 
By the one great sacrifice, 
Saviour, look with pitying eye ; 
Saviour, help me, or I die. 

4 By thy triumph o'er the grave ; 
By thy power the lost to save ; 
By thy high, majestic throne ; 
By the empire all thine own, 
Saviour, look with pitying eye ; 
Saviour, help me, or I die. 

Robert Grant. Alt. 

Sir Robert Grant wrote a piece titled 
"The Litany,'" which was published in 
the Christian Observer in 1815. It is 
found elsewhere in this volume (see No. 
500). The present hymn seems to have 
been made from that poem. It was al- 



tered by Thomas Cotterill and published 
by him in his Selection in 1819, and has 
been still further altered by others to 
give it the form here presented. 


C. M. 

LONG have I sat beneath the sound 
Of thy salvation, Lord ; 
But still how weak my faith is found, 
And knowledge of thy word ! 

2 How cold and feeble is my love ! 

How negligent my fear ! 
How low my hopes of joys above ! 
How few affections there ! 

3 Great God ! thy sovereign aid impart 

To give thy word success ; 
Write thy salvation on my heart, 
And make me learn thy grace. 

4 Show my forgetful feet the way 

That leads to joys on high, 
Where knowledge grows without decay, 
And love shall never die. 

Isaac Watts. 

The author's title is: "Unfruitfulness, 

Ignorance, and Unsanctified Affections." 
From Hymns and Spiritual Songs, 1709. 
Six stanzas. These are the first and the 
last three, unaltered. The two stanzas 
which are omitted are not necessary to the 
hymn, which is one of real value. 

282 7s, 6s. D. 

JESUS, thou art standing 

Outside the fast-closed door ; 
In lowly patience waiting 

To pass the threshold o'er. 
Shame on us, Christian brethren, 

His name and sign who bear ! 
O shame, thrice shame upon us, 

To keep him standing there ! 

2 O Jesus, thou art knocking ! 
And lo ! that hand is scarred, 

And thorns thy brow encircle, 
And tears thy face have marred. 

O love that passeth knowledge, 
So patiently to wait ! 

O sin that hath no equal, 
So fast to bar the gate ! 

3 O Jesus, thou art pleading 
In accents meek and low, 

"I died for you, my children, 
And will ye treat me so?" 

O Lord, with shame and sorrow 

We open now the door : 
Dear Saviour, enter, enter, 

And have us nevermore. 

WiUiam W. How. 

This hymn first appeared in 18G7 in a 
supplement to Morrell and How's Psalms 
and Hymns, the first edition of which 
was published in 1851. Bishop How has 
given an account of the origin of this 

I composed the hymn early in 1867, after 
I had been reading a very beautiful poem en- 
titled "Brothers and a Sermon." The pathos 
of the verses impressed me very forcibly at 
the time. I read them over and over again, 
and finally, closing the book, I scribbled on 
an odd scrap of paper my first idea of the 
verses beginning, "O Jesu, thou art stand- 
ing." I altered them a good deal subsequent- 
ly, but I am fortunate in being able to say 
that after the hymn left my hands it was 
never revised or altered in any way. 

This hymn is based on Revelation iii. 
20: "Behold, I stand at the door, and 
knock: if any man hear my voice, and 
open the door, I will come in to him, and 
will sup with him, and he with me." 

The poem referred to by the author is 
by Jean Ingelow, who describes two broth- 
ers listening to the parson of the fishing 

As one that pondered now the words 
He had been preaching on with new surprise, 
And found fresh marvel in their sound, "Be- 
hold ! 
Behold !" saith He, "I stand at the door and 

Open the door with shame, if ye have sinned ; 
If ye be sorry, open it with sighs. 
Albeit the place be bare for poverty. 
And comfortless for lack of plenishing, 
Be not abashed for that, but open it, 
And take Him in that comes to sup with thee ; 
"Behold !" He saith, "I stand at the door and 
knock !" 

Speak, then, O rich and strong: 
Open, O happy young, ere yet the hand 
Of Him that knocks, wearied at last, forbear ; 
The patient foot its thankless quest refrain. 
The wounded heart for evermore withdraw. 

Holman Hunt's famous picture. "The 



Light of the World," now at Keble College, 
Oxford, is also said to have had its influ- 
ence upon the author in the writing of 
this hymn. 

This painting [says Dr. C. S. Robinson] 
represents the scene which the hymn por- 
trays with a fidelity as pathetic as it is force- 
ful. Some of the incidental forms of Oriental 
imagery seem likewise to have been taken by 
the artist from the similar scene suggested by 
the Bride's words concerning her Lord in 
Canticles v. 2 : "I sleep, but my heart wak- 
eth : it is the voice of my beloved that knock- 
eth, saying, Open to me, my sister, my love, 
my dove, my undefiled : for my head is filled 
with dew, and my locks with the drops of the 
night." The Figure stands as if in the act 
of waiting and listening. He is in the garden, 
for the vines trail across the door still shut 
to him ; he is under the shadows of night, for 
he bears a lantern which flings its beams 
upon the fruit that lies in the path by his 
feet. The story is told with a delicacy that 
rivals description ; the painting is an exqui- 
site illustration of the spirit of the hymn. 

283 s. m. d. 

AH ! whither should I go, 
Burdened and sick and faint? 
To whom should I my trouble show, 

And pour out my complaint? 
My Saviour bids me come ; 

Ah ! why do I delay? 
He calls the weary sinner home, 
And yet from him I stay. 

2 What is it keeps me back, 

From which I cannot part, 
Which will not let the Saviour take 

Possession of my heart? 
Searcher of hearts, in mine 

Thy trying power display ; 
Into its darkest corners shine, 

And take the veil away. 

3 I now believe in thee, 

Compassion reigns alone ; 
According to my faith, to me 

O let it, Lord, be done ! 
In me is all the bar, 

Which thou wouldst fain remove ; 
Remove it, and I shall declare 

That God is only love. 

Charles Wesley. 

The Scripture basis for this hymn is 1 
Timothy ii. 4: "God will have all men to 
be saved." 

The hymn consists of sixteen double 
stanzas. This is made up of the first, the 
first half of the second, the last half of 
the third, and the twelfth. The poet's 
idea can be better seen by "reading the 
omitted lines: 

Some cursed thing unknown 

Must surely lurk within, 
Some idol which I will not own, 

Some secret bosom sin. 

Jesu, the hindrance show, 
Which I have feared to see ; 

Yet let me now consent to know 
What keeps me out of Thee. 

From Hymns on God's Everlasting 
Love, 1741. 




EARY of earth, and laden with my sm, 
I look at heaven and long to enter in : 
But there no evil thing may find a home, 
And yet I hear a voice that bids me 
"Come !" 

2 So vile I am, how dare I hope to stand 
In the pure glory of that holy land? 
Before the whiteness of that throne appear? 
Yet there are hands stretched out to draw 

me near. 

3 The while I fain would tread the heavenly 

Evil is ever with me day by day ; 
Yet on mine ears the gracious tidings fall, 
"Repent, confess, thou shalt be loosed from 


4 It is the voice of Jesus that I hear ; 

His are the hands stretched out to draw me 

And his the blood that can for all atone, 
And set me faultless there before the throne. 

5 'Twas he who found me on the deathly 

And made me heir of heaven, the Father's 

And day by day, whereby my soul doth live, 
Gives me his grace of pardon, and will give. 

6 O great Absolver, grant my soul may wear 
The lowliest garb of penitence and prayer. 
That in the Father's courts my glorious 

May be the garment of thy righteousness ! 



. thou wilt for me, righteous 
Lord ; 
Thine all the merits, mine the great re- 
ward ; 
Thine the sharp thorns, and mine the gold- 

tll ci 
Mine the life won, and thine the life laid 

Samuel J. Stone. 

This hymn is based on an expression 
found in the Apostles' Creed, "The For- 
giveness of sins." and was written in 18C6 
for a parochial mission. It was first pub- 
lished in the author's Lyra Fidelium, 
and later it was revised by the au- 
thor and published in the Appendix to 
Hymns Ancient and Modem, 1S68. The 
last stanza has been omitted: 

Naught can I bring, dear Lord, for all I owe : 
Yet let my full heart what it can bestow ; 
Like Mary's gift let my devotion prove, 
Forgiven greatly, how I greatly love. 

"Of all my hymns."" says the author, 
"the one beginning, "Weary of earth,' is 
the most dear to me because of the letters 
I have received from or about persons to 
whose joy and peace in believing it has 
been permitted to be instrumental." 

'"This,"'" says Dr. Robinson, "is one of 
the finest in our language as an eager 
and wistful imploration of pardon for 
one's iniquities in the sight of God." 

285 c. II 

APPROACH, my soul, the mercy seat, 
Where Jesus answers prayer; 
There humbly fall before his feet, 
For none can perish there. 

2 Thy promise is my only plea, 

With this I venture nigh ; 
Thou callest burdened souls to thee, 
And such, O Lord, am I. 

3 Bowed down beneath a load of sin, 

By Satan sorely pr - 
By wars without, and fears within, 
I come to thee for rest. 

4 Be thou my shield and hiding place, 

That, sheltered near thy side, 
I may my fierce accuser face. 
And tell him, Thou hast died. 

5 O wondrous love ! to bleed and die, 

To bear the cross and shame, 
That guilty sinners, such as I. 
Might plead thy gracious name ! 

6 "Poor tempest-tossed soul, be still ; 

My promised g 
'Tis Jesus speaks — I must, I will, 
I can, I do believe. 

John Xeicton. 

Title: ''The Effort." Unaltered and en- 
tire from the Olney Hymns. 1779. A re- 
cent critic says: "This is one of the finest 
hymns of invitation for a penitent sinner 
ever written." 


L. M. 

FAITH is a living power from heaven 
That grasps the promise God hath given, 
A trust that cannot be o'erthrown, 
Fixed heartily on Christ alone. 

2 Faith finds in Christ whate'er we need 
To save or strengthen us ind< 
Receives the grace he sends us down, 
And makes us share his cross and crown. 

3 Faith in the conscience worketh peace, 
And bids the mourner's weeping cease ; 
By faith the children's place we claim, 
And give all honor to one Name. 

■4 Faith feels the Spirit's kindling breath 
In love and hope that conquer death ; 
Faith worketh hourly joy in God, 
And trusts and blesses e'en the rod. 

5 "vVe thank thee, then, O God of heaven, 
That thou to us this faith hast given 
In Jesus Christ thy Son, who is 
Our only fount and source of bliss. 

Petrus Herbert. 
Tr. by Catherine Wnikworth. 

This has been called "a noble confession 
of a true Christian faith." It is a didac- 
tic hymn — a sermon in a song. The orig- 
inal appears in the Brethren's German 
Hymn. Book. 1566, in eighteen stanzas of 
four lines each, six of which, beginning 
with the third stanza, are found in Bun- 
sen's Yersuch. 1833. Miss Winkworth'a 
translation is limited to the stanzas quot- 
ed by Bunsen, and first appeared in the 
second series of her Lyra Germanica, 1S58. 
The last stanza is omitted: 



And from his fullness grant each soul 
The rightful faith's true end and goal, 
The blessedness no foes destroy, 
Eternal love and light and joy. 

287 c. m. 

SALVATION ! O the joyful sound ! 
What pleasure to our ears ! 
A sovereign balm for every wound, 
A cordial for our fears. 

2 Salvation ! let the echo fly 

The spacious earth around, 
While all the armies of the sky 
Conspire to raise the sound. 

3 Salvation ! O thou bleeding Lamb ! 

To thee the praise belongs : 
Salvation shall inspire our hearts, 
And dwell upon our tongues. 

Isaac Watts. Alt. 

Author's title: "Salvation" 
One stanza, the second, has been omit- 

2 Buried in sorrow and in sin, 
At hell's dark door we lay, 
But we arise, by grace divine, 
To see a heavenly day. 

The last stanza was not written by Dr. 
Watts. It was appended by some un- 
known author. This additional stanza is 
not modern; it is found in the early edi- 
tions of Lady Huntingdon's Collection, 
and was possibly written by the editor of 
that book, the Rev. Walter Shirley. 

From Hymns and Spiritual Songs, Book 
II.. 1709. 


S. M. 

GRACE ! 'tis a charming sound, 
Harmonious to the ear; 
Heaven with the echo shall resound, 
And all the earth shall hear. 

2 Grace first contrived the way 

To save rebellious man ; 
And all the steps that grace display, 
Which drew the wondrous plan. 

3 Grace taught my wandering feet 

To tread the heavenly road ; 
And new supplies each hour I meet 
While pressing on to God. 

4 Grace all the work shall crown 

Through everlasting days ; 

It lays in heaven the topmost stone, 
And well deserves our praise. 

Philip Doddridge. 

This hymn is titled "Salvation by 
Grace" in the author's Hymns, 1755, and 
is based on Ephesians ii. 5: "By grace ye 
are saved." It is perhaps the most famil- 
iar and popular that Doddridge ever 
wrote. It is exceedingly difficult to read 
the third and fourth lines of the second 
stanza so as to bring out the meaning 
clearly. The Committee of Revision spent 
some time discussing an "improvement" 
for the two lines, but none could be agreed 
upon, and so they reluctantly left it as 
Doddridge wrote it. 

In verse one, line two, the author wrote, 
"Harmonious to my ear;" in verse two, 
line one, "Grace first contrived a way;" 
and in verse four, line four, "And well de- 
serves the praise." The first of these 
changes is not an improvement. Dr. Rob- 
inson says of this hymn: 

In the course of its wide use by Churches 
of various denominations it was considerably 
altered, and many forms of it are to be found. 
. . . It seems to us that Dr. Doddridge is 
alluding here to Zechariah iv. 7, where we 
read : "And he shall bring forth the headstone 
thereof with shoutings, crying, Grace, grace 
unto it." Each verse describes some work 
which grace has done : it contrived the way, it 
taught my feet, it drew the plan, and it shall 
crown the work by "laying" the topmost 
stone in heaven. 


L. M. 

F Him who did salvation bring 
I could forever think and sing 
Arise, ye needy, he'll relieve ; 
Arise, ye guilty, he'll forgive. 

2 Ask but his grace, and lo, 'tis given ! 
Ask, and he turns j^our hell to heaven : 
Though sin and sorrow wound my soul, 
Jesus, thy balm will make it whole. 

3 To shame our sins he blushed in blood ; 
He closed his eyes to show us God : 
Let all the world fall down and know 
That none but God such love can show. 

4 Insatiate to this spring I fly ; 
I drink, and yet am ever dry : 



Ah! who against thy charms is proof? 
Ah ! who that loves, can love enough? 
Bernard of Clairvanx. 
Tr. by Anthony W. Boehm. 

This hymn is found in every edition of 
the Methodist Episcopal Hymn Book back 
to the Coke and Asbury book adopted 
soon after the organization of the Church, 
and in the English ancestor of that book, 
The Pocket Hymn Book, edited by Robert 
Spence, of York. 

Its history is greatly involved. It is a 
part of a famous Latin hymn entitled, 
"Jcsu dulcis memoria." Its date and au- 
thorship are really unknown, though it is 
attributed to Bernard of Clairvaux. Later 
it appeared in German. About 1712 A. W. 
Boehm made a free translation into Eng- 
lish. This was altered by John C. Jacobi 
in 1720. The hymn as found here is made 
up of selections from Jacobi. 

We quote one unique stanza, the four- 
teenth, from the Moravian hymn book of 

O wondrous Jesu ! greatest King ! 

The world doth with thy triumphs ring ; 

Thou conquer'st all, below, above, 

Dire fiends with force, and men with love. 

This stanza, still further edited, ap- 
pears in Martin Madin's Collection, 1760, 
as follows: 

Eternal Lord, Almighty King, 
All Heav'n doth with thy triumphs ring ! 
Thou conquer'st all beneath, above, 
Devils with Force, and Men with Love. 


L. M. 


OW sweetly flowed the gospel's sound 
From lips of gentleness and grace, 
While listening thousands gathered round, 
And joy and gladness filled the place ! 

2 From heaven he came, of heaven he spoke, 

To heaven he led his followers' way ; 
Dark clouds of gloomy night he broke, 
Unveiling an immortal day. 

3 "Come, wanderers, to my Father's home ; 

Come, all ye weary ones, and rest." 
Yes, sacred Teacher, we will come, 
Obey thee, love thee, and be blest. 

John Bowring. 

Author's title: "Jesus Teaching the Peo- 
ple." It is based on Matthew xi. 28, 29: 
"Come unto me, all ye that labor and are 
heavy-laden, and I will give you rest. 
Take my yoke upon you, and learn of me; 
for I am meek and lowly in heart: and ye 
shall find rest unto your souls." From 
the author's Matins and Vespers, 1823. 
One stanza is omitted: 

4 Decay, then, tenements of dust ! 
Pillars of earthly pride, decay ! 
A nobler mansion waits the just, 
And Jesus has prepared the way. 

The author of this hymn wrote: "In the 
cross of Christ I glory." It is a curious 
fact that not a few of our most beautiful 
hymns about Christ were written by Uni- 
tarians who deny his divinity, but make 
much of his exalted and matchless hu- 


C. M. 

THERE is a fountain filled with blood, 
Drawn from Immanuel's veins ; 
And sinners, plunged beneath that flood, 
Lose all their guilty stains. 

2 The dying thief rejoiced to see 

That fountain in his day ; 
And there may I, though vile as he, 
Wash all my sins away. 

3 Dear dying Lamb ! thy precious blood 

Shall never lose its power, 
Till all the ransomed church of God 
Be saved, to sin no more. 

4 E'er since, by faith, I saw the stream 

Thy flowing wounds supply, 
Redeeming love has been my theme, 
And shall be till I die. 

5 Then in a nobler, sweeter song, 

I'll sing thy power to save, 
When this poor lisping, stammering tongue 
Lies silent in the grave. 

William Cowper. 

A favorite and useful hymn. 

The author's title is: ''Praise for the 
Fountain Opened." It is based on Zecha- 
riah xiii. 1: "In that day there shall be a 
fountain opened to the house of David 
and to the inhabitants of Jerusalem for 
sin and for uncleanness." 




Some people think that the first stanza 
is offensive to good taste, but no one who 
believes in the necessity of the atonement 
need be disturbed by it. 

A great change has been made in the 
last part of the second stanza. The au- 
thor wrote: 

And there have I, as vile as he, 
Wash'd all my sins away. 

There is no doubt but that Cowper gave 
his personal experience and testimony in 
this hymn. These two lines are the only 
ones that have been changed. They are 
found in various forms. 

In Rippon's Selection, 1787, they are 
found in the form of prayer: 

O may I there, though vile as he, 
Wash all my sins away. 

In the Hartford Selection, 1799: 

And there may I, as vile as he, 
Wash all my sins away. 

The great question with hymnal editors 
is, Which form is best? No doubt many 
can sing as here given who could not 
honestly use it as the author wrote it. 

The last two stanzas have been omitted: 

6 Lord, I believe thou hast prepared, 

Unworthy though I be, 
For me a blood-bought, free reward, 
A golden harp for me ! 

7 'Tis strung and tuned for endless years, 

And formed by power divine, 
To sound in God the Father's ears, 
No other name but thine. 

These also, I think, may be considered as 
an expression of the author's faith and 
hope at the time the hymn was written. 
From the Olney Hymns, 1779. 


C. M. 

WHAT amazing words of grace 
Are in the gospel found ! 
Suited to every sinner's case, 
Who knows the joyful sound. 

2 Poor, sinful, thirsty, fainting souls 
Are freely welcome here ; 

Salvation, like a river, rolls 
Abundant, free, and clear. 

3 Come, then, with all your wants and 
wounds ; 
Your every burden bring : 
Here love, unchanging love, abounds, 
A deep, celestial spring. 

Samuel Medley. Alt. 

This is from a hymn of six stanzas 
which appeared in the first edition of the 
author's Hymns, 1789. The first and 
third stanzas here given are by Medley, 
but the second stanza is from some un- 
known hand. 


8, 5, 8, 3. 

ART thou weary, art thou languid, 
Art thou sore distressed? 
"Come to me," saith One, "and, coming, 
Be at rest." 

2 Hath he marks to lead me to him, 

If he be my guide? 
"In his feet and hands are wound-prints, 
And his side." 

3 Is there diadem, as monarch, 

That his brow adorns? 
"Yea, a crown, in very surety, 
But of thorns." 

4 If I find him, if I follow, 

What his guerdon here? 
"Many a sorrow, many a labor, 
Many a tear." 

5 If I still hold closely to him, 

What hath he at last? 
"Sorrow vanquished, labor ended, 
Jordan passed." 

G If I ask him to receive me, 
Will he say me nay? 
"Not till earth and not till heaven 
Pass away." 

7 Finding, following, keeping, struggling, 
Is he sure to bless? 
"Saints, apostles, prophets, martyrs, 
Answer, Yes." 

John M. Neale. 

Suggested by the Greek of St. Stephen 
the Sabaite. 

Stephen, born in 725, was placed in a 
monastery in the Wilderness of Judea 
overlooking the Dead Sea when he was 
ten years of age by his uncle, John the 



Damascene, where he remained until his 
death, A.D. 794. These stanzas, says the 
translator, Dr. John Mason Neale, "strike 
me as very sweet." The hymn has not 
been changed except in the last verse. 
The translator wrote: "Angels, Martyrs, 
Prophets, Virgins." 

In the preface to the third edition of 
his Hymns of the Eastern Church. 1866, 
Dr. Neale wrote: "'Art thou weary' and 
two other hymns contain so little that 
is from the Greek that they ought not to 
have been included in this collection." 



6, 6, 6, 6, 8, 8. 

LOW ye the trumpet, blow, 

The gladly solemn sound ; 
Let all the nations know, 

To earth's remotest bound, 
The year of jubilee is come ! 
Return, ye ransomed sinners, home. 

2 Jesus, our great High Priest, 

Hath full atonement made ; 
Te weary spirits, rest ; 

Ye mournful souls, be glad : 
The year of jubilee is come ! 
Return, ye ransomed sinners, home. 

3 Extol the Lamb of God, 

The all-atoning Lamb ; 
Redemption through his blood 

Throughout the world proclaim : 
The year of jubilee is come ! 
Return, ye ransomed sinners, home. 

4 Ye slaves of sin and hell, 

Your liberty receive, 
And safe in Jesus dwell, 

And blest in Jesus live : 
The year of jubilee is come ! 
Return, ye ransomed sinners, home. 

5 Ye who have sold for naught 

Your heritage above, 
Receive it back unbought, 

The gift of Jesus' love : 
The year of jubilee is come ! 
Return, ye ransomed sinners, home. 

6 The gospel trumpet hear, 

The news of heavenly grace ; 
And, saved from earth, appear 

Before your Saviour's face : 
The year of jubilee is come ! 
Return, ye ransomed sinners, home. 
Charles Wesley. 

This is one of Charles Wesley's finest 
hymns. It is on his favorite theme — an 

unlimited atonement for sinners, who are 
nowhere exhorted more tenderly and ear- 
nestly to return than in this hymn. "The 
Year of Jubilee" is its title. It is one of 
the author's seven Hymns for Xeiu-Year's 
Day, 1750. Strangely enough, it has been 
sometimes attributed to Toplady, who was 
born in 1740. It is based on Leviticus 
xxv. 9, 10: 

Then shalt thou cause the trumpet of the 
jubilee to sound on the tenth day of the sev- 
enth month, in the day of atonement shall 
ye make the trumpet sound throughout all 
your land. And ye shall hallow the fiftieth 
year, and proclaim liberty throughout all the 
land unto all the inhabitants thereof : it shall 
be a jubilee unto you ; and ye shall return ev- 
ery man unto his possession, and ye shall re- 
turn every man unto his family. 


7s, 6s. D. 

COME unto me, ye weary, 
And I will give you rest/' 
O blessed voice of Jesus, 

Which comes to hearts oppressed ! 
It tells of benediction, 

Of pardon, grace, and peace, 
Of joy that hath no ending, 
Of love which cannot cease. 

2 "Come unto me, dear children, 

And I will give you light." 
O loving voice of Jesus, 

Which comes to cheer the night ! 
Our hearts were filled with sadness, 

And we had lost our way, 
But morning brings us gladness, 

And songs the break of day. 

3 "Come unto me, ye fainting, 

And I will give you life." 
O cheering voice of Jesus, 

Which comes to aid our strife ! 
The foe is stern and eager. 

The fight is fierce and long : 
But thou hast made us mighty, 

And stronger than the strong. 

4 "And whosoever cometh, 

I will not cast him out." 
O welcome voice of Jesus, 

Which drives away our doubt ! 
Which calls us, very sinners, 

Unworthy though we be 
Of love so free and boundless, 

To come, dear Lord, to thee ! 

William C. Dix. 



Written in 1867 and published the same 
year in The People's Hymnal. London. It 
is based upon some of the precious prom- 
ises of Christ, especially Matthew xi. 28: 
"Come unto me, all ye that labor and are 
heavy-laden, and I will give you rest." 

In a letter to Mr. Jones, author of 
Famous Hymns, London, 1902, Mr. Dix 
tells the story of this hymn in the follow- 
ing words: 

I was ill and depressed at the time, and it 
was almost to idle away the hours that I 
wrote the hymn. I had been ill for many 
weeks, and felt weary and faint, and the 
hymn really expresses the languidness of 
body from which I was suffering at the time. 
Soon after its composition I recovered, and I 
always look back to that hymn as the turn- 
ing point in mj' illness. 

In The People's Hymnal, verse two, 
line three, reads: 

O peaceful voice of Jesus. 

Otherwise it has not been changed. 


L. M. 61. 


HEN time seems short and death is near, 

And I am pressed by doubt and fear, 
And sins, an overflowing tide, 
Assail my peace on every side, 
This thought my refuge still shall be, 
I know the Saviour died for me. 

2 His name is Jesus, and he died, 
For guilty sinners crucified ; 
Content to die that he might win 
Their ransom from the death of sin: 
No sinner worse than I can be, 
Therefore I know he died for me. 

3 If grace were bought, I could not buy ; 
If grace were coined, no wealth have I ; 
By grace alone I draw my breath, 
Held up from everlasting death ; 

Yet, since I know his grace is free, 
I know the Saviour died for me. 

George W. Bethune. 

This hymn was first published in the 
Lyra Sacra Americana, 1868. It is invest- 
ed with a more than ordinarily pathetic 
interest growing out of the fact that the 
author died the day after he wrote it. He 

was on a visit to Florence, Italy, and on 
Sunday, April 28, 1862, he died suddenly 
after having preached that morning on 
the text: "Be of good cheer; thy sins be 
forgiven thee." The last two stanzas of 
the original are: 

4 I read God's holy Word, and find 

Great truths which far transcend my mind ; 

And little do I know beside 

Of thoughts so high, so deep, so wide : 

This is my best theology, 

I know the Saviour died for me. 

5 My faith is weak, but 'tis Thy gift ; 
Thou canst my helpless soul uplift, 
And say, "Thy bonds of death are riven, 
Thy sins by Me are all forgiven ; 

And thou shalt live from guilt set free, 
For I, thy Saviour, died for thee." 


C. M. 

FATHER of Jesus Christ, my Lord, 
My Saviour and my Head, 
I trust in thee, whose powerful word 
Hath raised him from the dead. 

2 In hope, against all human hope, 

Self-desperate, I believe ; 
Thy quickening word shall raise me up, 
Thou shalt thy Spirit give. 

3 Faith, mighty faith, the promise sees, 

And looks to that alone ; 
Laughs at impossibilities, 

And cries, "It shall be done!" 

4 To thee the glory of thy power 

And faithfulness I give ; 
I shall in Christ, at that glad hour, 
And Christ in me shall live. 

5 Obedient faith that waits on thee, 

Thou never wilt reprove ; 
But thou wilt form thy Son in me, 
And perfect me in love. 

Charles Wesley. 

Part of a long hymn founded on Ro- 
mans iv. 16-23, "Therefore it is of faith," 

The third stanza is a good definition of 
faith. This hymn is composed of verses 
one, nine, fourteen, fifteen, and twenty, 

From Hymns and Sacred Poems, 1742. 


298 L- M. 

AUTHOR of faith, eternal Word, 
Whose Spirit breathes the active flame, 
Faith, like its Finisher and Lord, 
To-day, as yesterday, the same , 

2 To thoe our humble hearts aspire, 

And ask the gift unspeakable ; 
Increase in us the kindled fire, 
In us the work of faith fulfill. 

3 By faith we know thee strong- to save ; 

Save us, a present Saviour thou : 

Whate'er we hope, by faith we have ; 

Future and past subsisting now. 

4 To him that in thy name believes, 

Eternal life with thee is given ; 
Into himself he all receives — 

Pardon, and holiness, and heaven. 

5 The things unknown to feeble sense, 

Unseen by reason's glimmering ray, 
With strong, commanding evidence, 
Their heavenly origin display. 

6 Faith lends its realizing light ; 

The clouds disperse, the shadows fly ; 
The Invisible appears in sight, 
And God is seen by mortal eye. 

Charles Wesley. 

'•The Life of Faith, Exemplified in the 
Eleventh Chapter of St. Paul's Epistle to 
the Hebrews," is the author's title to his 
poetic paraphrase upon this chapter. The 
original contains eighty-five stanzas. The 
hymn above is composed of the first six 
stanzas, and is based on the first verse: 
"Now faith is the substance of things 
hoped for, the evidence of things not 
seen." It is from Hymns and Sacred 
Poems. 1740. In the last line of the fourth 
stanza the author wrote "happiness" in- 
stead of "holiness." 

299 C. M. 

WFIY should the children of a King 
Go mourning all their days? 
Great Comforter, descend and bring 
The tokens of thy grace. 

2 Dost thou not dwell in all thy saints, 

And seal the heirs of heaven? 
When wilt thou banish my complaints, 
And show my sins forgiven? 

3 Assure my conscience of her part 

In the Redeemer's blood ; 
And bear thy witness with my heart, 
That I am born of God. 

4 Thou art the earnest of his love, 

The pledge of joys to come ; 
May thy blest wings, celestial Dove, 

Safely convey me home. 

Isaac Watts. 

Watts's title was: "The Witnessing and 
Sealing Spirit."' Its Scripture basis is as 
follows : 

For as many as are led by the Spirit of 
God, they are the sons of God. For ye have 
not received the spirit of bondage again to 
fear ; but ye have received the Spirit of adop- 
tion, whereby we cry, Abba, Father. The 
Spirit itself beareth witness w T ith our spirit, 
that we are the children of God. [Rom. viii. 

In whom ye also trusted, after that ye 
lit aid the word of truth, the gospel of your 
salvation : in whom also, after that ye be- 
lieved, ye were sealed with that Holy Spirit 
of promise, which is the earnest of our inher- 
itance until the redemption of the purchased 
possession, unto the praise of his glory. [Eph. 
i. 13, 14.] 

The author wrote "Soyne tokens" in the 
last line of the first stanza, and the last 
two lines of the last stanza: 

And thy soft wings, celestial Dove, 
Will safe convey me home. 

From Hymns and Spiritual Songs, 1709. 

300 S. M. D. 

I WAS a wandering sheep, 
I did not love the fold, 
I did not love my Shepherd's voice, 
I would not be controlled ; 



I was a wayward child, 

I did not love my home, 
I did not love my Father's voice, 

I loved afar to roam. 

2 The Shepherd sought his sheep, 

The Father sought nis child ; 
He followed me o'er vale and hill, 

O'er deserts waste and wild ; 
He found me nigh to death, 

Famished, and faint, and lone ; 
He bound me with the bands of love, 

He saved the wandering one. 

3 No more a wandering sheep, 

I love to be controlled, 
I love my tender Shepherd's voice, 

I love the peaceful fold ; 
No more a wayward child, 

I seek no more to roam ; 
I love my Heavenly Father's voice, 

I love, I love his home ! 

Horatius Bonar. 

"Lost out Found" is the author's title 
to this in his Songs in the Wilderness, 
1843, where it first appeared. Two stan- 
zas, the third and fourth of the original, 
have been omitted: 

3 They spoke in tender love ; 

They raised my drooping head ; 
They gently closed my bleeding wounds, 

My fainting soul they fed. 
They washed my filth away ; 

They made me clean and fair ; 
They brought me to my home in peace, 

The long-sought wanderer ! 

4 Jesus my Shepherd is ; 

'Twas he that loved my soul, 
'Twas he that washed me in his blood, 

'Twas he that made me whole : 
'Twas he that sought the lost, 

That found the wandering sheep ; 
'Twas he that brought me to the fold, 

'Tis he that still doth keep. 

It is based on 1 Peter ii. 25: "Ye were as 
sheep going astray; but are now returned 
unto the Shepherd and Bishop of your 

The third, fifth, seventh, and eighth 
lines of the second stanza begin with the 
word "They" instead of "He." 

The last stanza has suffered at the hand 
of revisers. It originally read: 

I was a wandering sheep, 

I would not be controlled ; 
But now I love my Shepherd's voice, 

I love, I love the fold ! 
I was a wayward child ; 

I once preferred to roam, 
But now I love my Father's voice, — 

I love, I love his home. 

The following incident is narrated by 
Long in his History of the Hymns: 

During a revival in a female seminary in 
Massachusetts many of the pupils had shown 
the natural "enmity" of the "carnal mind" 

to spiritual things. Helen B was among 

those who noticed the Spirit's work only by 
a curling lip and a scornful laugh. 

It seemed in vain to talk with her or seek 
to induce her to attend a prayer meeting. 
Christians could do nothing more than to 
pray for her. 

One evening, however, as a praying band 
had gathered, the door opened, and Helen 

B entered. Her eyes were downcast, and 

her face was calm and very pale. There was 
something in her look which told of an in- 
ward struggle. She took her seat silently, 
and the exercises of the meeting proceeded. 
A few lines were sung, two or three prayers 
offered, and then, as was their custom, each 
repeated a few verses of some favorite hymn. 
One followed another in succession until it 
came to the turn of the newcomer. There was 
a pause and a perfect silence, and then, with- 
out lifting her eyes from the floor, she com- 
menced : 

"I was a wandering sheep, 
I did not love the fold." 

Her voice was low, but distinct ; and ev- 
ery word, as she uttered it, thrilled the hearts 
of the listeners. She repeated one stanza aft- 
er another of that beautiful hymn of Bonar, 
and not an eye save her own was dry as, 
with sweet emphasis, she pronounced the last 
lines : 

"No more a wayward child, 
I seek no more to roam ; 
I love my Heavenly Father's voice — 
I love, I love his home." 

That single hymn told all. The wandering 
sheep, the wayward child, had returned. 

301 6, 6, 6, 6, 8, 8. 

ARISE, my soul, arise ; 
Shake off thy guilty fears ; 
The bleeding Sacrifice 
In my behalf appears : 



Before the throne my Surety stands, 
My name is written on his hands. 

2 He ever lives above, 

For me to intercede ; 
His all-redeeming love, 

His precious blood, to plead ; 
His blood atoned for all our race, 
And sprinkles now the throne of grace. 

3 Five bleeding wounds he bears, 

Received on Calvary ; 
They pour effectual prayers, 

They strongly plead for me : 
"Forgive him, O forgive," they cry, 
"Nor let that ransomed sinner die !" 

4 The Father hears him pray, 

His dear anointed One ; 
He cannot turn away 

The presence of his Son ; 
His Spirit answers to the blood, 
And tells me I am born of God. 

5 My God is reconciled ; 

His pardoning voice I hear ; 

He owns me for his child, 

I can no longer fear : 

With confidence I now draw nigh, 

And, "Father, Abba, Father," cry. 

Charles Wesley. 

Title: "Behold the Man ." 
A much-used and blessed hymn. It is 
a satisfaction to know that it remains, 
except the title, as it was published by 
the author in Hymns and Sacred Poems. 

Wesley had clear views concerning the 
atonement. In the hymn that follows 
this in his Poems, 1742, the reason of 
Christ's death is made as clear as crys- 

He died, that we to sin might die, 

And live to God alone ; 
He died, our hearts to purify, 
And make them all his own. 

George John Stevenson, of London, gave 
the following illustration of the useful- 
ness of this hymn. It was furnished by 
the Rev. Matthew Cranswick, an English 
Wesleyan minister who labored in the 
West Indies. He said: 

I feel it due to the honor and glory of God 
to inform you of the utility of one hymn in 

particular, commencing, "Arise, my soul, 
arise" I have a record of upward of two 
hundred persons, young and old, who re- 
ceived the most direct evidence of the forgive- 
ness of their sins while singing that hymn. 
My plan of using the hymn was the follow- 
ing: After ascertaining as far as possible that 
the professed sorrow of the penitent was god- 
ly sorrow, we then commenced that hymn, re- 
questing the penitent to join. Some of them 
would hesitate to sing the last verse ; in that 
case I would begin to sing the whole or part of 
the hymn again until the penitent had ob- 
tained courage to sing every part. I have 
never known one instance of a sincere peni- 
tent failing to receive a joyous sense of par- 
don while singing that hymn. 


L. M. 61. 


OW I have found the ground wherein 
Sure my soul's anchor may remain ; 

The wounds of Jesus, for my sin 

Before the world's foundation slain ; 

Whose mercy shall unshaken stay, 

When heaven and earth are fled away. 

2 Father, thine everlasting grace 

Our scanty thought surpasses far : 
Thy heart still melts with tenderness ; 

Thine arms of love still open are, 
Returning sinners to receive, 
That mercy they may taste, and live. 

3 O love, thou bottomless abyss, 

My sins are swallowed up in thee ! 
Covered is my unrighteousness, 

Nor spot of guilt remains on me, 
While Jesus' blood, through earth and skies, 
Mercy, free, boundless mercy, cries. 

4 By faith I plunge me in this sea ; 

Here is my hope, my joy, my rest ; 
Hither, when hell assails, I flee ; 

I look into my Saviour's breast : 
Away, sad doubt and anxious fear ! 
Mercy is all that's written there. 

5 Fixed on this ground will I remain, 

Though my heart fail, and flesh decay ; 
This anchor shall my soul sustain, 

When earth's foundations melt away ; 
Mercy's full power I then shall prove, 
Loved with an everlasting love. 
Johann A. Rothe. Tr. by John Wesley. 

"Joy in Believing" is the title which the 
author of the original gave to this hymn 
when he first published it, in 1727; but 
John Wesley titled his translation "Re- 
demption Found" in his Hymns and So- 



cred Poems, 1740, where he first pub- 
lished it. In the fourth verse Wesley- 
wrote "With faith" instead of ' l By faith." 
This hymn in the German contained ten 
stanzas, and was dedicated by the author 
to his friend, Count Zinzendorf. "Per- 
haps there is not," observes Stevenson, 
"in the whole collection a hymn which is 
so full of Scripture truth in Scripture 
phraseology. One lover of this hymn has 
been led to compare it to the Word of 
God, and he has found no less than thir- 
ty-six separate passages of Scripture 
which, in language or spirit, correspond 
with the several lines of this hymn." 
When the translation of this hymn was 
finished, John Wesley sent a copy of it to 
P. H. Molther, one of the German Mora- 
vians in London, and under date of Janu- 
ary 25, 1740, Mr. Molther returned the 
translation with his approval of all but 
one verse, which Mr. Wesley altered as 

The fifth stanza of Wesley's translation 
is omitted above, and is as follows: 

Though waves and storms go o'er my head, 
Though strength, and health, and friends 
be gone, 

Though joys be withered all and dead, 
Though every comfort be withdrawn, — 

On this my steadfast soul relies, 

Father, thy mercy never dies. 

This hymn was a great favorite with 
John Fletcher, of Madeley, and also with 
his saintly wife. 


S. M. 

HOW can a sinner know 
His sins on earth forgiven? 
How can my gracious Saviour show 
My name inscribed in heaven? 

2 What we have felt and seen 

With confidence we tell; 
And publish to the sons of men 
The signs infallible. 

3 We who in Christ believe 

That he for us hath died, 
We all his unknown peace receive, 
And feel his blood applied. 

4 Exults our rising soul, 

Disburdened of her load, 

And swells unutterably full 
Of glory and of God. 

Charles Wesley. 

Title: "The Marks of Faith.'' As pub- 
lished by Charles Wesley in Hymns and 
Sacred Poems (two volumes), 1749, this 
hymn has eight stanzas of eight lines 
each. The first three were altered into 
this meter for the Collection of Hymns for 
the use of the people called Methodists, 
probably by John Wesley, 1779. 

Knowledge of sins forgiven, or an as- 
surance of salvation, was a sine qua non 
with the early Methodists. This hymn is 
an answer to the question: "How can a 
sinner know his sins on earth forgiven?" 
An omitted verse, the fourth, if possible, 
makes the answer more plain. We give 
it in the original form: 

The Pledge of Future Bliss 

He now to us imparts, 
His gracious Spirit is 

The Earnest in our Hearts. 
We antedate the Joys above, 

We taste th' Eternal Powers, 
And know that all those Heights of Love, 

And all those Heavens are Ours. 


C. M. D. 

I HEARD the voice of Jesus say, 
"Come unto me and rest ; 
Lay down, thou weary one, lay down 

Thy head upon my breast !" 
I came to Jesus as I was, 

Weary and worn and sad ; 

I found in him a resting place, 

And he has made me glad. 

2 I heard the voice of Jesus say, 

"Behold, I freely give 
The living water ; thirsty one, 

Stoop down, and drink, and live !" 
I came to Jesus, and I drank 

Of that life-giving stream ; 
My thirst was quenched, my soul revived, 

And now I live in him. 

3 I heard the voice of Jesus say, 

"I am this dark world's light ; 
Look unto me, thy morn shall rise, 

And all thy day be bright !" 
I looked to Jesus, and I found 

In him my star, my sun ; 
And in that light of life I'll walk, 

Till traveling days are done. 

Horatius Bonar. 



"The Voice from Galilee" is the title of 
this hymn in the author's Hymns of 
Faith and Hope, first series, 1857. There 
is no change from the original. Dr. C. S. 
Robinson, writing of this hymn, says: 

The two secrets of the wonderful popularity 
of this hymn are found in the fact that it in- 
troduces the words of our Lord in a pictur- 
esque way, as if one's ear had happened to 
catch them on the air, and then his voice 
made an immediate response by "coming" to- 
ward the words of imitation and promise; 
and then that it employs possessive pronouns 
for its phraseology, and so individualizes the 
believer. Christ says, "Come to me/ 1 and 
the Christian says, "2 came." Christ says, 
"1 give the living water," and the listener an- 
swers, "My thirst was quenched." Christ 
says, "J am the light," and the child of God 
replies, "I found in him my Star, my Sun !" 


L. M. 

TXTO thy gracious hands I fall, 
And with the arms of faith embrace ; 
O King of glory, hear my call ! 

O raise me, heal me by thy grace ! 

2 Arm me with thy whole armor, Lord, 

Support my weakness with thy might ; 
Gird on my thigh thy conquering sword, 
And shield me in the threatening fight. 

3 From faith to faith, from grace to grace, 

So in thy strength shall I go on, 
Till heaven and earth flee from thy face, 
And glory end what grace begun. 

Wolfyang C. Dessler. 
Tr. by John Wesley. 

From the German. John Wesley found 
this hymn in the Herrnhut Gesang-Bueh. 
1731, and translated six of the eight dou- 
ble stanzas. We have here the first half 
of the fourth and all of the sixth stanza 
of his translation without change. The 
translation begins, "Jesu, whose glory's 
streaming rays," and is found in Hymns 
and Sacred Poems, 1739. 

306 L. M. D. 

JESUS, my all, to heaven is gone, 
He whom I fix my hopes upon ; 
His track I see, and I'll pursue 
The narrow way, till him I view. 
The way the holy prophets w T ent, 
The road that leads from banishment, 

The King's highway of holiness, 
I'll go, for all his paths are peace. 

2 This is the way I long have sought, 
And mourned because I found it not; 
My grief a burden long has be< n, 
Because I was not saved from sin. 
The more I strove against its power, 
I felt its weight and guilt the more ; 
Till late I heard my Saviour say, 
"Come hither, soul, I am the way." 

3 Lo ! glad I come ; and thou, blest Lamb, 
Shalt take me to thee, as I am ; 
Nothing but sin have I to give ; 
Nothing but love shall I receive. 

Then will I tell to sinners round, 
What a dear Saviour I have found; 
I'll point to thy redeeming blood, 
And say, "Behold the way to God." 

John Cennick. 
This is taken from the author's Sacred 
Hymns for the Use of Religious Societies. 
Generally Composed in Dialogues, 1743, 
where it is titled: "Following Christ the 
Sinner's Way to God." There have been 
several unimportant verbal changes, all 
of which are improvements upon the orig- 
inal, as will be seen by noting the follow- 
ing words in italics, which represent the 
Verse one, line two: 

He that I fix my hopes upon. 
Verse two, lines three and four: 

My grief my burden long has been, 
Because I could not cease from sin. 

Verse two, lines six and eight: 

I sinned and stumbled but the more, 
Come hither, soul, for I'm the way. 

Verse three, lines one, three, and four: 

Lo ! glad I come ; and thou, dear Lamb. 
Nothing but sin I Thee can give. 
Yet help me and Thy Praise I'll live. 

Verse three, line five: 

I'll tell to all poor sinners round. 

The original has single stanzas, the 
third, fourth, and fifth, omitted above, be- 

3 No Stranger may proceed therein, 
No Lover of the World and Sin ; 
No Lion, no devouring Care, 
No ravenous Tyger shall be there. 



4 No nothing may go up thereon 
But traveling Souls, and I am one : 
Wayfaring Men to Canaan bound, 
Shall only in the Way be found. 

5 Nor Fools, by carnal men esteemed, 
Shall err therein ; but they redeemed 
In Jesus' Blood, shall shew their Right 
To travel there, till Heaven's in Sight. 

This hymn reads as if it were written 
by one who knew by experience the joy 
of finding Christ — as if it came from one 
who knew when and where he was con- 
victed and converted; and so it was. Fre- 
quenting London in his fifteenth and six- 
teenth year in search of employment, but 
all in vain, says his biographer: 

He became addicted, in consequence, to 
sight-seeing, song-singing, play-going, card- 
playing, horse-racing, ball-frequenting, and 
the like. But on an Easter visit to London, 
in 1735, he was seriously impressed as he was 
walking hastily in Cheapside. He became 
greatly distressed on account of his sins, 
broke off from his sinful course, and walked 
softly before God ; but he found no peace un- 
til September 6, 1737, in his nineteenth year, 
when he was enabled to trust in Christ alone 
and find joy and peace in believing. 




ARK, my soul ! it is the Lord ; 

'Tis thy Saviour, hear his word ; 
Jesus speaks, he speaks to thee : 
"Say, poor sinner, lov'st thou me' 

2 I delivered thee when bound, 

And, when bleeding, healed thy wound 
Sought thee wandering, set thee right, 
Turned thy darkness into light. 

3 Can a mother's tender care 
Cease toward the child she bare? 
Yes, she may forgetful be, 

Yet will I remember thee. 

4 Mine is an unchanging love, 
Higher than the heights above, 
Deeper than the depths beneath, 
Free and faithful, strong as death. 

5 Thou shalt see my glory soon, 
When the work of faith is done ; 
Partner of my throne shall be : 
Say, poor sinner, lov'st thou me?" 

6 Lord, it is my chief complaint 
That my love is still so faint ; 

Yet I love thee and adore : 
O for grace to love thee more ! 

William Cowper. 

Original title: "Lovest Thou MeV 
(John xxi. 16.) 

One word has been changed. In the 
second line of the fifth stanza Cowper 

When the work of grace is done. 

Some Arminian hymn editor made this 
change because he thought that "grace" 
savored of Calvinism. It ought to be re- 
stored out of regard to the author. 

The third stanza of this hymn is a re- 
production of a remarkable passage in 
Isaiah xlix. 15. 

First found in Maxfield's New Appen- 
dix, 1768. Also in Olney Hymns, 1779. 

Dr. Julian in his Dictionary of Hymnol- 
ogy says: 

It rapidly attained great popularity with 
hymn book compilers, and is found at the 
present time in most of the high-class hym- 
nals in all English-speaking countries. It is 
a lyric of great tenderness and beauty, and 
ranks as one of Cowper's best hymns. 


L. M. 

LET not the wise their wisdom boast, 
The mighty glory in their might, 
The rich in flattering riches trust, 
Which take their everlasting flight. 

2 The rush of numerous years bears down 

The most gigantic strength of man ; 
And where is all his wisdom gone, 
When dust he turns to dust again? 

3 One only gift can justify 

The boasting soul that knows his God ; 
When Jesus doth his blood apply, 
I glory in his sprinkled blood. 

4 The Lord, my Righteousness, I praise, 

I triumph in the love divine, 
The wisdom, wealth, and strength of grace, 
In Christ to endless ages mine. 

Charles Wesley. 

From Short Hymns on Select Passages 
of the Holy Scriptures, 1762. It is based 
on Jeremiah ix. 23, 24: 

Thus saith the Lord, Let not the wise man 
glory in his wisdom, neither the mighty man 



glory in his might, let not the rich man glory 
in his riches: but let him that glorieth glory 
In this, that he understandeth and knowetta 
me, that I am the Lord which exercise loving- 
kindness, judgment, and righteousness, in the 
earth : for in these things I delight, saith the 

In verse one, lines one and two, the au- 
thor wrote "his" instead of "their," and 
in verse four, last line, he wrote "through" 
instead of "to." 


C. M. 

AMAZING grace ! how sweet the sound, 
That saved a wretch like me ! 
I once was lost, but now am found, 
Was blind, but now I see. 

2 'Twas grace that taught my heart to fear, 

And grace my fears relieved ; 
How precious did that grace appear 
The hour I first believed ! 

3 Through many dangers, toils, and snares, 

I have already come ; 
'Tis grace hath brought me safe thus far, 
And grace will lead me home. 

4 The Lord has promised good to me, 

His word my hope secures ; 
He will my shield and portion be 
As long as life endures. 

5 Yes, when this flesh and heart shall fail, 

And mortal life shall cease, 
I shall possess, within the veil, 
A life of joy and peace. 

6 The earth shall soon dissolve like snow, 

The sun forbear to shine ; 
But God, who called me here below, 
Will be forever mine. 

John Xeicton. 

Title: "Faith's Review and Expecta- 
tion." It is based on 1 Chronicles xvii. 
16, 17: 

Who am I, O Lord God, and what is mine 
house, that thou hast brought me hitherto? 
And yet this was a small thing in thine eyes, 
O God : for thou hast also spoken of thy serv- 
ant's house for a great while to come, and 
hast regarded me according to the estate of a 
man of high degree, O Lord God. 

The author of this hymn plainly refers 
to his own life and experience. 

Newton wrote his own epitaph, which 
he requested might be put up on a plain 

marble tablet near the vestry door of his 
church in London: 

John Newtox, Clerk. 

Once an Infidel and Libertine, 

A servant of slaves in Africa, 

Was, by the rich mercy of our Lord and 


Jesus Christ, 

Preserved, restored, pardoned, 

Ami appointed to preach the Faith 

He had long labored to destroy. 

Near 16 years at Olney in Bucks 

And . . . years in this church. 
On Feb. 1, 1750, he married 
Daughter of the late George Catlett 

Of Chatham, Kent. 
He resigned her to the Lord who gave her 
On 15th of December, 1790. 

Unaltered and 
Hymns, 1779. 

entire from Olney 


L. M. 61. 

AND can it be that I should gain 
An interest in the Saviour's blood? 
Died he for me, who caused his pain? 

For me, who him to death pursued? 
Amazing love ! how can it be 
That thou, my Lord, shouldst die for me? 

2 'Tis mystery all ! the Immortal dies ! 

Who can explore his strange design? 
In vain the firstborn seraph tries 

To sound the depths of love divine ; 
'Tis mercy all ! let earth adore : 
Let angel minds inquire no more. 

3 He left his Father's throne above, 

So free, so infinite his grace ! 
Emptied himself of all but love, 

And bled for Adam's helpless race ; 
'Tis mercy all, immense and free, 
For, O my God, it found out me ! 

4 Long my imprisoned spirit lay, 

Fast bound in sin and nature's night ; 
Thine eye diffused a quickening ray, 

I woke, the dungeon flamed with light : 
My chains fell off, my heart was free, 
I rose, went forth, and followed thee. 

5 No condemnation now I dread, 

Jesus, with all in him, is mine ; 
Alive in him, my living Head, 

And clothed in righteousness divine, 
Bold I approach the eternal throne, 
And claim the crown through Christ my 

Charles Wesley. 



"Free Grace" is the author's title to this 
hymn in Hymns and Sacred Poems, 1739. 
This is one of Charles Wesley's finest 
hymns. It is a profound study of the 
atonement by a soul that is filled with ap- 
preciation and awe over the realization, 
both intellectual and experimental, of the 
significance and mystery of the sufferings 
and death of Christ. It was doubtless 
written very soon after the author's con- 
version in May, 1738. The fifth stanza 
has been omitted: 

Still the small inward voice I hear, 
That whispers all my sins forgiven ; 

Still the atoning blood is near, 

That quenched the wrath of hostile Heaven : 

I feel the life His wounds impart ; 

I feel my Saviour in my heart. 

In the last line of the first stanza above 
Wesley wrote "God" instead of "Lord." 

John Wesley in describing his conver- 
sion speaks of going to Charles Wesley's 
room in Little Britain and singing a 
hymn "with great joy." Some have 
thought that this is the hymn referred to; 
but evidence points to the hymn begin- 
ning, "Where shall my wondering soul 
begin," as that which was sung on this 
occasion. It is to be regretted that this 
historic hymn, which has been described 
as "the birth song of the Evangelical Re- 
vival," has not been given a place in this 
collection. But while the present hymn 
was doubtless not the one sung in celebra- 
tion of John Wesley's conversion, it is as- 
sociated very closely with the close of his 
life, as the following words, quoted from 
Telford, will show: 

On the last Sunday afternoon of John "Wes- 
ley's life, after he had said, "There is no 
need for more ; when at Bristol, my words 

I the chief of sinners am, 
But Jesus died for me," 

Miss Ritchie writes : "Seeing him very weak 
and not able to speak much, I said : 'Is this 
the present language of your heart, and do 
you now feel as you then did?' He replied: 
'Yes.' I then repeated : 

'Bold I approach the eternal throne, 
And claim the crown, through Christ my 

And I added : ' 'Tis enough ; he, our precious 
Emmanuel, has purchased, has promised all.' 
He earnestly replied, 'He is all, he is all,' and 
then said : 'I will go.' I said, 'To joys above ; 
Lord, help me to follow you ;' to which he re- 
plied : 'Amen.' " 

John and Charles Wesley make frequent 
reference in their journals to the evangel- 
ical use which they make of their hymns. 
The entry in Charles Wesley's Journal 
for Wednesday, August 22, 1739, makes 
reference to how this hymn was gracious- 
ly used by the Holy Spirit in the convic- 
tion and conversion of "a drunken serv- 
ant of Mr. Seward:" "This morning the 
work upon poor Robin appeared to be 
God's work. The words that made the 
first impression were: 

'Tis mercy all, immense and free, 
For, O my God, it found out me ! 

He now seems full of sorrow and joy and 
astonishment and love. The world, too, 
set to their seal that he belongs to Christ." 


6, 6, 9. D. 

OHOW happy are they, 
Who the Saviour obey, 
And have laid up their treasure above ! 
Tongue can never express 
The sweet comfort and peace 
Of a soul in its earliest love. 

2 That sweet comfort was mine, 
"When the favor divine 

I first found in the blood of the Lamb ; 

When my heart first believed, 

What a joy I received, 
What a heaven in Jesus's name ! 

3 'Twas a heaven below 
My Redeemer to know, 

And the angels could do nothing more, 

Than to fall at his feet, 

And the story repeat, 
And the Lover of sinners adore. 

4 Jesus all the day long 
Was my joy and my song : 

O that all his salvation might see ! 
"He hath loved me," I cried, 
"He hath suffered and died, 

To redeem a poor rebel like me." 



5 O the rapturous height 

Of that holy delight 
Which I felt in the life-giving blood! 

Of my Saviour possessed, 

I was perfectly blest, 
As if Oiled with the fullness of God. 

Charles Wesley. 

Title: "For One Fallen from Grace" It 
is from Hymns and Sacred Poems, 1749. 

A few slight changes have been made, 
and two stanzas, the fifth and sixth, omit- 

5 On the wings of His love, 
I was carried above 

All sin, and temptation, and pain ; 

I could not believe, 

That I ever should grieve, 
That I ever should suffer again. 

6 I rode on the sky, 
(Freely justified I !) 

Nor envied Elijah his seat ; 

My soul mounted higher, 

In a chariot of fire, 
And the moon it was under my feet. 

There is a "part second" that contains 
nine verses more. The old Pocket Hymn 
Book contained the whole sixteen stanzas, 
which were retained in all the editions 
down to 1849, when all the stanzas were 
left out except these five. They are all 
that are worth saving. Some writers, 
judging from internal evidence, have 
doubted whether Charles Wesley ever 
wrote this hymn, thinking him incapable 
of writing such stanzas as the sixth, 
quoted above. The real wonder is that in 
the great harvest of his writings — some 
six thousand pieces — there should be so 
much good wheat and so little worthless 

This hymn was intended to express the 
joy of the happy convert. It has had a 
long and useful career, and we hope it 
will be used for generations to come as it 
has been in the past. 


L. M. 

HAPPY day, that fixed my choice 
On thee, my Saviour and my God ! 
Well may this glowing heart rejoice, 
And tell its raptures all abroad. 

Happy day, happy day, 
When Jesus washed my sins away : 
He taught me how to watch and pray, 
And live rejoicing every day. 
Happy day, happy day, 
When Jesus washed my sins away. 

2 O happy bond, that seals my vows 

To him who merits all my love ! 
Let cheerful anthems fill his house, 
While to that sacred shrine I move. 

3 'Tis done : the great transaction's done ! 

I am my Lord's, and he is mine ; 
He drew me and I followed on, 

Charmed to confess the voice divine. 

4 Now rest, my long-divided heart; 

Fixed on this blissful center, rest : 
With ashes who w r ould grudge to part, 
When called on angels' bread to feast? 

5 High heaven, that heard the solemn vow, 

That vow renewed shall daily hear, 
Till in life's latest hour I bow, 

And bless in death a bond so dear. 

Philip Doddridge. 

Original title: "Rejoicing in our Cove- 
nant Engagements to God." It is based 
on 2 Chronicles xv. 15: "And all Judea 
rejoiced at the oath; for they had sworn 
with all their heart, and sought him with 
their whole desire; and he was found of 
them: and the Lord gave them rest round 
about." It is found in the author's 
Hymns, published in 1755, four years aft- 
er the author's death. The editor of this 
posthumous volume (J. Orton) admits 
that in some instances he tampered with 
the text of the original. In 1839 J. D. 
Humphreys brought out what he claimed 
was the accurate text of the original, and 
it in some instances differs from Orton's 
text. In the edition of Humphreys the 
last two lines of verse four read as fol- 

O w T ho with earth would grudge to part, 
When called with angels to be blessed? 

Other hymns of Dr. Doddridge may 
have more of poetic merit; but no other 
is so dear to Methodists as this familiar 
and precious hymn. It has the warm and 
fervent glow of rapturous experimental 



religion about it. If we did not know 
that Doddridge wrote it, if its authorship 
had been uncertain, the student of hym- 
nology would most surely have attributed 
it to Charles Wesley. It is a high com- 
pliment to this hymn that it was chosen 
by Prince Albert, the consort of Queen 
Victoria, to be sung always on occasions 
when members of the royal family were 
confirmed. "Blessed is the man," says 
James Montgomery, "who can take the 
words of this hymn and make them his 
own from similar experience." This 
hymn could have been written only by 
one who had a deep, rich, and joyous ex- 
perience i nthe precious things of God. 
It is one of the best revival hymns ever 
written; for it not only rejoices in cove- 
nant engagements already entered into 
with God, but it is exceedingly helpful in 
bringing penitent souls who are under 
conviction of sin up to the point of a full 
and hearty decision for Christ. It is ex- 
ceedingly fortunate in having a tune that 
is exactly suited both to the words and the 
sentiment of the hymn. There are few 
hymns that are so much enjoyed by young 
and old, by saint and sinner, as this rap- 
turous song that celebrates the joy of a 
redeemed sinner over having found Christ 
the Saviour. 


L. M. 

THOU, who earnest from above, 

The pure celestial fire to impart, 
Kindle a flame of sacred love 
On the mean altar of my heart ! 

2 There let. it for thy glory burn, 

With inextinguishable blaze, 
And trembling to its source return, 
In humble love and fervent praise. 

3 Jesus, confirm my heart's desire, 

To work, and speak, and think, for thee 
Still let me guard the holy fire, 
And still stir up thy gift in me; 

4 Ready for all thy perfect will, 

My acts of faith and love repeat, 

Till death thy endless mercies seal, 

And make the sacrifice complete. 

Charles Wesley. 

From Short Hymns on Select Passages 
of the Holy Scriptures, 1762. It was writ- 
ten on Leviticus vi. 13: "The fire shall 
ever be burning upon the altar; it shall 
never go out." 

It is unaltered and complete. John 
Wesley said that his experience might al- 
ways be found in these lines. 

This admirable hymn has one blemish: 
"inextinguishable," in the second verse, 
is almost unsingable. Bishop Bicker- 
steth, in his Hymnal Companion to the 
Book of Common Prayer, suppressed the 
line and substituted the following: "Un- 
quenched, undimmed, in darkest days." 
This is an improvement, yet not altogeth- 
er happy. 


C. M. 

RELIGION is the chief concern 
Of mortals here below : 
May I its great importance learn, 
Its sovereign virtue know ! 

2 O may my heart, by grace renewed, 

Be my Redeemer's throne ; 
And be my stubborn will subdued, 
His government to own ! 

3 Let deep repentance, faith, and love 

Be joined with godly fear ; 
And all my conversation prove 
My heart to be sincere. 

4 Let lively hope my soul inspire ; 

Let warm affections rise ; 
And may I wait with strong desire 
To mount above the skies ! 

John Faivcett. 

This hymn has eight stanzas in the 
author's Hymns Adapted to the Circum- 
stances of Public Worship and Private 
Devotion, 1782, where it bears the title, 
"The Nature and Necessity of Inward Re- 

315 6, 4, 6, 4, 6, 6, 4. 

NEARER, my God, to thee, 
Nearer to thee ! 
E'en though it be a cross 

That raiseth me ; 
Still all my song shall be, 
Nearer, my God, to thee, 
Nearer to thee ! 



2 Though like the wanderer, 

The sun gone down, 
Darkness be over me, 

My rest a stone, 
Yet in my dreams I'd be 
Nearer, my God, to thee, 

Nearer to thee ! 

3 There let the way appear, 

steps unto heaven ; 
All that thou sendest me, 

In mercy given ; 
Angels to beckon me 
Nearer, my God, to thee, 

Nearer to thee ! 

4 Then, with my waking thoughts 

Bright with thy praise, 
Out of my stony griefs 

Bethel I'll raise ; 
So by my woes to be 
Nearer, my God, to thee, 

Nearer to thee ! 

5 Or if, on joyful wing 

Cleaving the sky, 
Sun, moon, and stars forgot, 

Upward I fly, 
Still all my song shall be, 
Nearer, my God, to thee, 

Nearer to thee ! 

Sarah F. Adams. 

This favorite hymn was written in 1841 
and contributed to Hymns and Anthems, 
edited by the Rev. William Johnson Fox. 
It was the fruitage of a gifted mind and 
a pious heart. It is founded upon the sto- 
ry of Jacob's journey as given in Genesis 
xxviii. 10-19: 

And Jacob went out from Beersheba, and 
went toward Haran. And he lighted upon a 
certain place, and tarried there all night, be- 
cause the sun was set ; and he took of the 
stones of that place, and put them for his pil- 
lows, and lay down in that place to sleep. 
And he dreamed, and behold a ladder set up 
on the earth, and the top of it reached to 
heaven : and behold the angels of God ascend- 
ing and descending on it. . . . And Jacob 
rose up early in the morning, and took the 
stone that he had put for his pillows, and set 
it up for a pillar, and poured oil upon the 
top of it. And he called the name of that 
place Bethel. 

One word only has been changed. 
The author wrote in the fifth line of the 
first stanza: 

Still all my song would be. 

In Anglican Hymnology this is No. 13 
in hymns of first rank; in Best Hymns, 
No. 12; in Hymns That Have Helped, 
No. 7. 

Who shall say that this hymn was not 
written in answer to prayer or at least to 
strong desire? In the same little book 
in which "Nearer, my God, to thee" was 
published we find another hymn by the 
same author. We quote two verses: 

O ! I would sing a song of praise, 

Natural as the breeze 
That stirs amongst the forest trees, 

Whispering ever, 

Weary never, 
Summer's prime or wintry days — 
So should come my song of praise. 

O ! I would sing a song of praise 

Holy as the night, 
When heaven comes to us in the light 

Of stars whose gleaming, 

Influence streaming, 
Draws us upward while we gaze — 
So should rise my song of praise. 

Is not this hymn a "song of praise," 
"natural as the breeze," and "holy as the 

The last words of President McKinley, 
as reported by his physician, Dr. Mann, 
were: "'Nearer, my God, to thee, e'en 
though it be a cross,' has been my con- 
stant prayer." On the Sunday following 
the burial at Canton, Ohio, September 22, 
1901, this hymn was used in memorial 
services all over the land. 

The following reminiscence is related of 
Bishop Marvin: 

The Bishop, at a prayer meeting that he 
had conducted, stated that he had recently 
been traveling in the wilds of Arkansas. His 
mind was oppressed, his heart sad. He had 
been compelled to leave his family and home 
— it was during the trying years of the Civ- 
il War — and could not hear of their welfare ; 
and it seemed to him that clouds and dark- 
ness had completely enveloped him. In this 
depressed state of mind and heart he ap- 
proached an old log cabin in a very dilapi- 
dated condition. As he drew nearer he dis- 



tinguished the sound of a woman's voice sing- 

"Nearer, my God, to thee." 

He at once alighted and went in, for the 
sound of that familiar hymn seemed to enter 
his very soul. He found the singer to be an 
aged widow in the midst of poverty, but cheer- 
ful and happy in the love of God in spite of 
her loneliness and want. He thought to him- 
self : If that poor widow in such loneliness 
could sing such a song, surely he could too. 
He gave to the winds his fears, and from that 
time forth, with full confidence in the provi- 
dence of an overruling God and Father, and 
with aspirations of heart unfelt before, he had 
been singing : 

"Nearer, my God, to thee." 
"This simple personal narrative," says 
the writer, "made a deeper impression on 
my mind than even the rich sermons he 
preached and with which I was delight- 


C. M. 

AS pants the hart for cooling streams, 
When heated in the chase, 
So longs my soul, O God, for thee, 
And thy refreshing grace. 

2 For thee, my God, the living God, 

My thirsty soul doth pine ; 

when shall I behold thy face, 
Thou Majesty divine? 

3 I sigh to think of happier days, 

When thou, O Lord, wast nigh ; 
When every heart was tuned to praise, 
And none more blest than I. 

4 Why restless, why cast down, my soul? 

Hope still, and thou shalt sing 
The praise of him who is thy God, 
Thy Saviour, and thy King. 
Tate and Brady. Alt. by Henry F. Lyte. 

This metrical version of a part of the 
forty-second Psalm is from H. F. Lyte's 
Spirit of the Psalms, 1834, and is an al- 
teration and improvement of the original 
as found in Tate and Brady's Neiv Ver- 
sion of the Psalms of David, 1696. The 
original of verse three in this version is: 

1 sigh, when recollecting thoughts 
Those happy days present, 

When I, with troops of pious friends, 
Thy temple did frequent. 

The last line of the hymn was originally: 
"Thy health's eternal spring." 

The original has twelve stanzas, the 
above being the first, second, fourth, and 


317 6, 4, 6, 4, 6, 6, 4. 

ORE love to thee, O Christ, 

More love to thee ! 
Hear thou the prayer I make, 

On bended knee ; 
This is my earnest plea, 
More love, O Christ, to thee, 

More love to thee ! 

2 Once earthly joy I craved, 

Sought peace and rest ; 
Now thee alone I seek, 

Give what is best : 
This all my prayer shall be, 
More love, O Christ, to thee, 

More love to thee ! 

3 Let sorrow do its work, 

Send grief and pain ; 
Sweet are thy messengers, 

Sweet their refrain, 
When they can sing with me, 
More love, O Christ, to thee, 

More love to thee !' 

4 Then shall my latest breath 

Whisper thy praise ; 
This be the parting cry 

My heart shall raise, 
This still its prayer shall be, 
More love, O Christ, to thee, 

More love to thee ! 

Elizabeth P. Prentiss. 

We are pleased that the third stanza, 
frequently omitted, is inserted here. It 
is now complete, as the author wrote it. 
In her Life written by her husband, Dr. 
George L. Prentiss, we find some account 
of this hymn. He says: 

The hymn, "More Love to Thee, O Christ," 
belongs probably as far back as the year 
1856. Like most of her hymns, it is simply a 
prayer put into the form of verse. She wrote 
it so hastily that the last stanza was left in- 
complete, one line having to be added in pen- 
cil when it was printed. She did not show it, 
not even to her husband, until many years 
after it was written ; and she wondered not a 
little that, when published, it met with so 
much, favor. 



We do not wonder. It was a heart song 
inspired by love and prayer. 

318 8, 8, 6. D. 

THOU great mysterious God unknown, 
Whose love hath gently led me on, 
E'en from my infant days, 
Mine inmost soul expose to view, 
And tell me if I ever knew 
Thy justifying grace. 

2 If I have only known thy fear, 
And followed, with a heart sincere, 

Thy drawings from above, 
Now, now the further grace bestow, 
And let my sprinkled conscience know 

Thy sweet forgiving love. 

3 Father, in me reveal thy Son, 

And to my inmost soul make known 

How merciful thou art ; 
The secret of thy love reveal, 
And by thy hallowing Spirit dwell 

Forever in my heart ! 

Charles Wesley. 

From Redemption Hymns, 1747. The 
original has eight stanzas; these are the 
first three and the last. The fourth stan- 
za should not be omitted: 

4 If now the witness were in me, 
Would he not testify of thee, 

In Jesus reconciled? 
And should I not with faith draw nigh, 
And boldly, Abba, Father, cry, 

And know myself thy child? 

There is a large class of Church mem- 
bers whose spiritual condition and whose 
heart yearnings are accurately portrayed 
in this hymn. Though members of the 
Church, they do not knoiv that they are re- 
generate Christians; they have not the wit- 
ness of the Spirit, but sincerely yearn for 
it. They are oftentimes much discour- 
aged because they have not a clear knowl- 
edge of sins forgiven and of their ac- 
ceptance with God. But such Christians 
are not hypocrites; they are sometimes 
among the most devout, exemplary, and 
useful members of the Church. Others 
have more confidence in their religion 
than they themselves have. As long as 
the absence of the witness of the Spirit 
leads the timid believer to yearnings of 

soul and to prayer for His testimony to 
sins forgiven, there are the signs of a 
healthful and genuine spiritual life. But 
alas for that large number of professing 
Christians who enjoy not the Holy Spir- 
it's witness to their acceptance, and yet 
the absence of this, the only satisfactory 
evidence of conversion, seems to create no 
concern as to their spiritual condition! 

319 8s, 7s. 

GENTLY, Lord, O gently lead us 
Through this lonely vale of tears; 
Through the changes thou'st decreed us, 
Till our last great change appears. 

2 When temptation's darts assail us, 

When in devious paths we stray, 
Let thy goodness never fail us, 
Lead us in thy perfect way. 

3 In the hour of pain and anguish, 

In the hour when death draws near, 
Suffer not our hearts to languish, 
Suffer not our souls to fear. 

4 When this mortal life is ended, 

Bid us in thine arms to rest, 

Till, by angel bands attended, 

We awake among the blest. 

Thomas Hastings. 

Title: "Pilgrimage." This is a genuine 
prayer-song and worthy of frequent use. 
It first appeared in Spiritual Songs for 
Social Worship, words and music ar- 
ranged by Thomas Hastings, of Utica, 
N. Y., and Lowell Mason, of Boston. Uti- 
ca, 1832. 

320 c. M. D. 

I WANT a principle within, 
Of jealous, godly fear ; 
A sensibility of sin, 

A pain to feel it near : 
I want the first approach to feel 

Of pride, or fond desire ; 
To catch the wandering of my will, 
And quench the kindling fire. 

2 From thee that I no more may part, 

No more thy goodness grieve, 
The filial awe, the fleshly heart, 

The tender conscience, give. 
Quick as the apple of an eye, 

O God, my conscience make ! 
Awake my soul when sin is nigh, 

And keep it still awake. 



3 If to the right or left I stray, 
That moment, Lord, reprove ; 
And let me weep my life away 
For having grieved thy love. 
O may the least omission pain 

My well-instructed soul, 
And drive me to the blood again 
Which makes the wounded whole ! 
Charles Wesley. 

Charles Wesley never wrote a more del- 
icately and deeply spiritual lyric than 
this, which he titled "For a Tender Con- 
science:' It is the aspiration and prayer 
of a soul that is inspired by the loftiest 
ethical ideal. To pray this prayer and 
live daily up to this ideal is to make an 
argument for inward holiness and Chris- 
tian perfection that none will gainsay or 
resist. It is well for the young Chris- 
tian to commit this hymn to memory. It 
is found in the author's Hymns and Sa- 
cred Poems, 1749, where it has five dou- 
ble stanzas, the above being the second, 
the third, and a half each of the fourth 
and fifth stanzas. The hymn is greatly 
improved by this abbreviation. 

Mr. Wesley was once asked by Samuel 
Bradburn in open Conference if any one 
could fall from the sanctified state with- 
out at the same time losing his justifica- 
tion. Wesley's only reply was to take up 
the hymn book and turn to this hymn and 
read the last stanza: 

O may the least omission pain 

My well-instructed soul, 
And drive me to the blood again 

Which makes the wounded whole ! 

In a similar manner on another occa- 
sion he made a quotation from one of 
Charles Wesley's hymns answer the ques- 
tion propounded to him as to whether or 
not he had himself experienced the bless- 
ing of entire sanctification. From the 
hymn beginning, "0 thou who earnest 
from above," he quoted the last two stan- 

Jesus, confirm my heart's desire, 

To work, and speak, and think, for thee ; 

Still let me guard the holy fire, 
And still stir up thy gift in me. 

Ready for all thy perfect will, 

My acts of faith and love repeat, 

Till death thy endless mercies seal, 
And make the sacrifice complete. 

This was a suggestive and beautiful an- 
swer, though it may not have been alto- 
gether satisfactory to the questioner. Mr. 
Wesley was much more concerned about 
living sanctification than he was about 
professing it. But while he did not pro- 
fess it for himself, others professed it for 
him. And this, after all, is the most ef- 
fective way to make a profession of en- 
tire sanctification — viz., to live the doc- 
trine so that one's neighbors and fellow- 
workers will profess it for him. 

321 C. M. 

JESUS, let all thy lovers shine, 
Illustrious as the sun : 
And, bright with borrowed rays divine, 
Their glorious circuit run. 

2 Beyond the reach of mortals, spread 

Their light where'er they go ; 
And heavenly influences shed 
On all the world below. 

3 As giants may they run their race, 

Exulting in their might ; 
As burning luminaries, chase 
The gloom of hellish night. 

4 As the bright Sun of righteousness, 

Their healing wings display ; 
And let their luster still increase 
Unto the perfect day. 

Charles Wesley. 

From the author's Short Hymns on Se- 
lect Passages of the Holy Scriptures, 1762. 
It is based upon Judges v. 31: "Let them 
that love him be as the sun when he goeth 
forth in his might." The original has 
three eight-line stanzas. This hymn con- 
sists of the first two, with only one slight 
change. Verse four, line one, Wesley 
wrote: "As the great Sun of righteous- 

322 L. M. 

GOD of my life, through all my days 
My grateful powers shall sound thy praise ; 
My song shall wake with opening light, 
And cheer the dark and silent night. 



2 When anxious cares would break my rest, 
And griefs would tear my throbbing breast, 
Thy tuneful praises raised on high 

Shall check the murmur and the sigh. 

3 When death o'er nature shall prevail, 
And all the powers of language fail, 

Joy through my swimming eyes shall break, 
And mean the thanks I cannot speak. 

4 But O, when that last conflict's o'er, 
And I am chained to flesh no more, 
With what glad accents shall I rise 
To join the music of the skies ! 

5 Soon shall I learn the exalted strains 
Which echo through the heavenly plains ; 
And emulate, with joy unknown, 

The glowing seraphs round the throne. 

6 The cheerful tribute will I give 
Long as a deathless soul shall live : 
A work so sweet, a theme so high, 
Demands and crowns eternity. 

Philip Doddridge. 

Author's title: "Praising God through 
the Whole of Our Existence." It is found 
in the author's Hymns Founded on Vari- 
ous Texts in the Holy Scriptures, 1755. 
In verse one, line one, the author wrote 
"its days" instead of "my days;" in line 
three, "the song" instead of "my song;" 
and in line four, "And warble to the si- 
lent night." In verse three, line two, he 
wrote "its powers" instead of "the pow- 
ers." This hymn is based on Psalm 
cxlvi. 2: "While I live will I praise the 
Lord: I will sing praises unto my God 
while I have any being." It is one of 
Doddridge's best hymns. It is said to 
have been written only a short while be- 
fore his death, which was due to consump- 
tion. The first hymn in the volume of 
Doddridge's Hymns referred to above 
closes with these lines: 

I ask not Enoch's rapturous flight 
To realms of heavenly day, 

Nor seek Elijah's fiery steeds 
To bear this flesh away. 

Joyful my spirit will consent 

To drop its mortal load, 
And hail the sharpest pangs of death 

That break its way to God. 

A venerable man of God who had 

preached the gospel for fifty years in the 
North Carolina Conference was approach- 
ing his end. A most distressing and ex- 
hausting cough had taken away his voice, 
and it seemed certain as he approached 
death that he would soon be unable, al- 
though retaining consciousness, to com- 
municate with his children even in a 
whisper. But before this moment came, 
he had his son get the hymn book and 
open it at No. 831 and follow him as he, 
with fast-failing voice, gave his dying tes- 
timony in the expressive words of this 

God of my life, through all my days, 
My grateful powers shall sound thy praise ; 
The song shall wake with op'ning light, 
And warble to the silent night. 

When death o'er nature shall prevail, 
And all the powers of language fail, 
Joy through my swimming eyes shaH break, 
And mean the thanks I cannot speak. 

But O, when that last conflict's o'er, 
And I am chained to flesh no more, 
With what glad accents shall I rise 
To join the music of the skies ! 

Blessed is the man whose dying testi- 
mony finds happy expression in such 
words as these. But more blessed still 
is that Christian poet who, in giving ex- 
pression to his own dying thoughts, has 
unconsciously used such happy and fitting 
words that others also, learning them by 
heart, will shout them back, when stand- 
ing at the brink of the grave or launching 
out into eternity, as most expressive of 
their own thoughts and feelings in the 
dying hour. 

323 us, ios. 

WE would see Jesus : for the shadows 
Across this little landscape of our life ; 
We would see Jesus, our w r eak faith to 

For the last weariness, the final strife. 

2 We w^ould see Jesus, the great rock founda- 
Whereon our feet were set with sover- 
eign grace. 



Nor life, nor death, with all their agita- 
Can thence remove us, if we see his face. 

3 We would see Jesus : other lights are pal- 

Which for long years we have rejoiced to 

see ; 
The blessings of our pilgrimage are failing : 
We would not mourn them, for we go to 


4 We would see Jesus : yet the spirit lingers 

Round the dear objects it has loved so 

And earth from earth can scarce unclasp 

its fingers ; 
Our love to thee makes not this love less 


5 We would see Jesus : sense is all too bind- 


And heaven appears too dim, too far 
We would see thee, thyself our hearts re- 

What thou hast suffered, our great debt 
to pay. 

6 We would see Jesus : this is all we're need- 

Strength, joy, and -willingness come with 
the sight ; 
We would see Jesus, dying, risen, pleading ; 
Then welcome day, and farewell mortal 

Anna B. Warner. 

This hymn gives honor to Jesus the 
Christ. It is found in Hymns of the 
Church Militant, compiled by Miss Anna 
Warner, New York, 1858, and published 
by Carter and Brothers, 1861. One stan- 
za has been left out, and a few verbal 
changes have been made. The last stan- 
za is particularly fine. 

324 7s, 6s. D. 

TO thee, O dear, dear Saviour ! 
My spirit turns for rest, 
My peace is in thy favor, 

My pillow on thy breast ; 
Though all the world deceive me, 

I know that I am thine, 
And thou wilt never leave me, 
O blessed Saviour mine. 

2 In thee my trust abideth, 
On thee my hope relies, 
O thou whose love provideth 
For all beneath the skies ; 

O thou whose mercy found me. 

From bondage set me free, 
And then forever bound me 

With threefold cords to thee. 

3 My grief is in the dullness 

With which this sluggish heart 
Doth open to the fullness 

Of all thou wouldst impart; 
My joy is in thy beauty 

Of holiness divine, 
My comfort in the duty 

That binds my life in thine. 

4 Alas, that I should ever 

Have failed in love to thee, 
The only one who never 

Forgot or slighted me ! 
O for a heart to love thee 

More truly as I ought, 
And nothing place above thee 

In deed, or word, or thought ! 

5 O for that choicest blessing 

Of living in thy love, 
And thus on earth possessing 

The peace of heaven above ! 
O for the bliss that by it 

The soul securely knows 
The holy calm and quiet 

Of faith's serene repose ! 

John 8. B. Monsell. 

This was first published in the author's 
Hymns of Love and Praise, 1863. Dr. C. 
S. Robinson in his note to this hymn cites 
two instances of the marvelous power of 
song to sustain one under great suffering: 

A medical man of the highest authority has 
related the story of a patient under his care 
whose case became so desperate that a critical 
operation was necessary. This promised to 
be perilous and extremely painful. But the 
poor fellow was timid ; he was too weak for 
chloroform, and he was asked if he thought 
he could brave the pain. After considering 
a moment, he answered : "I can stand it if you 
will let me sing." The surgeon said : "Sing 
away, my friend, as much as you like." So 
L ne sufferer sang this hymn : 

"There is a gate that stands ajar, 
And through its portals gleaming 
A radiance from the cross afar, 
A Saviour's love revealing." 

In the other instance it was a very much 
afflicted patient faced by the same awful ne- 
cessity of the knife. She must have an an- 
aesthetic perforce, for human nature could 
not abide the strain. But she was afraid of 



what she might say in a possible delirium 
and so betray her sensitive soul when irre- 
sponsible. The fact is, she had been wont 
before her conversion to use her tongue most 
foully. She was fearful now that she might 
lapse into her former habits of language. So 
her pathetic prayer was lifted as the ether 
was given her, "O Lord, keep thou the door of 
my mouth '." and when the rack was over, 
her first question was, "Did I talk?" and the 
answer, "No; you sang." But she pressed 
the inquiry anxiously: "What was it?" And 
with tears the nurse replied : "Nothing, dear, 
but 'Safe in the arms of Jesus/ verse after 
verse, over and over again." 

Few hymns have greater sustaining 
power in the sentiments they breathe than 
this beautiful lyric of love and trust. To 
have this hymn in the head and the heart 
is better than an anaesthetic to get one 
ready for life's sufferings. 


325 6s, 4s. D. 

REAK thou the bread of life, 

Dear Lord, to me, 
As thou didst break the loaves 

Beside the sea ; 
Beyond the sacred page 

I seek thee, Lord : 
My spirit pants for thee, 

O living Word ! 

2 Bless thou the truth, dear Lord, 
To me, to me, 
As thou didst bless the bread 

By Galilee ; 
Then shall all bondage cease, 

All fetters fall ; 
And I shall find my peace, 
My All-in-All. 

Mary A. Lathbury. 

Title: ''Study Song." It was written 
at Chautauqua in 1880. 

This gem of prayer-song is a favorite 
note only with members of the "literary 
and scientific" circles; it has a much 
wider constituency, and deserves it. It 
ought to be memorized by all Bible lovers 
and frequently used. 


L. M. 

JESUS, crucified for man, 

O Lamb, all-glorious on thy throne, 
Teach thou our wond'ring souls to scan 
The mystery of thy love unknown. 

2 We pray thee, grant us strength to take 

Our daily cross, whate'er it be, 

And gladly for thine own dear sake 
In paths of pain to follow thee. 

3 As on our daily way we go, 

Through light or shade, in calm or strife, 
O may we bear thy marks below 
In conquered sin and chastened life. 

4 And week by week this day we ask 

That holy memories of thy cross 
May sanctify each common task, 
And turn to gain each earthly loss. 

5 Grant us, dear Lord, our cross to bear 

Till at thy feet we lay it down, 
Win through thy blood our pardon there, 
And through the cross attain the crown. 
William W. How. 

This hymn was first published in 1871 
in the Parish Magazine, and was given a 
place in the volume of Church Hymns 
that appeared that same year under the 
joint editorship of the author and other 


C. M. 


ITH glorious clouds encompassed round, 

Whom angels dimly see, 
Will the Unsearchable be found, 

Or God appear to me? 

Will he forsake his throne above, 

Himself to men impart? 
Answer, thou Man of grief and love, 

And speak it to my heart. 

3 Didst thou not in our flesh appear, 
And live and die below, 
That I may now perceive thee near, 
And my Redeemer know? 

i Come then, and to my soul reveal 
The heights and depths of grace, 
Those wounds which all my sorrows heal, 
Which all my sins efface. 

5 Then shall I see in his own light, 
Whom angels dimly see ; 
And gaze, transported at the sight, 
To all eternity. 

Charles Wesley. 

Published without title in Hymns for 
the Use of Families. 1767. The original 
contains eight stanzas. These are one, 
two. four, five, and eight. Changes have 
been made in verses two, four, and five. 





S. M. 

B hope in thee, O God ! 

The day wears on to night ; 
Thick shadows lie across our world, 

In thee alone is light. 

2 We hope in thee, O God ! 

The fading time is here, 
But thou abidest strong and true 
Though all things disappear. 

3 We hope in thee, O God ! 

Our joys go one by one, 
But lonely hearts can rest in thee, 
When all beside is gone. 

4 We hope in thee, O God ! 

Hope fails us otherwhere ; 
But since thou art in all that is, 
Peace takes the hand of care. 

5 We hope in thee, O God ! 

In whom none hope in vain ; 
We cling to thee in love and trust, 
And joy succeeds to pain. 

Marianne Hearn. 

We greatly need some good hymns on 
the Christian doctrine of hope. Hymns 
on faith and love abound; hymns on hope 
are very few. This hymn by Miss Hearn 
is not found in many Church collections. 
We do not know when or where it was 
first published. 

The most popular of all Miss Hearn's 
hymns is the one titled: "Waiting and 
Watching for Me." We quote two stanzas: 

When my final farewell to the world I have 

And gladly lie down to my rest ; 
When softly the watchers shall say, "He is 

And fold my pale hands o'er my breast ; 
And when with my glorified vision at last 

The walls of that City I see, 
Will any one then, at the beautiful gate, 

Be waiting and watching for me? 

O, should I be brought there by the bountiful 
Of Him who delights to forgive, 
Though I bless not the weary about in my 
Pray Only for self while I live, 
Methinks I should mourn o'er my sinful neg- 
If sorrow in heaven can be, 
Should no one I love, at the beautiful gate, 
Be waiting and watching for me ! 


8s, 5s. 

PASS me not, O gentle Saviour, 
Hear my humble cry ; 
While on others thou art calling, 
Do not pass me by ; 

Saviour, Saviour, hear my humble cry, 

While on others thou art calling, 
Do not pass me by. 

2 Let me at a throne of mercy 

Find a sweet relief ; 
Kneeling there in deep contrition, 
Help my unbelief. 

3 Trusting only in thy merit, 

Would I seek thy face ; 
Heal my wounded, broken spirit, 
Save me by thy grace. 

4 Thou the spring of all my comfort, 

More than life for me ; 
Whom have I on earth beside thee? 
Whom in heaven but thee? 
* Fanny J. Crosby. 

Written in 1868 at the request of Wil- 
liam Howard Doane, Doctor of Music, who 
gave Mrs. Van Alstyne the first line as a 
theme. It was a success from the begin- 
ning, and has now been in common use 
for forty years. 

Ira D. Sankey, in his Story of the Gos- 
pel Hymns, says: "No hymn in our collec- 
tion was more popular than this at our 
meetings in London in 1874." Some 
hymns never get "worn out" because they 
are seldom used; others do because they 
are used so much. This "gospel hymn" 
has probably been sung more times and 
by more people than any standard hymn 
in the language. A hymn, like a sermon, 
is not an end in itself; it is an instrument. 
Its value depends upon its execution. Dr. 
Adam Clarke said: "A sermon that does 
good is a good sermon." I dare to say 
the same of a hymn; and judged by that 
standard, this is one of the best hymns 
ever written. 

The author, in her Memories of Eighty 
Years, gives her idea of poetic inspiration: 

That some of my hymns have been dic- 
tated by the blessed Holy Spirit I have no 
doubt ; and that others have been the result 
of deep meditation I know to be true ; but 



that the poet has any right to claim special 
merit for himself is certainly presumptuous. 
At times the burden of inspiration is 
so heavy that the author cannot find words 
beautiful enough or thoughts deep enough for 
its expression. 


L. M. 


Y hope is built on nothing less 

Than Jesus' blood and righteousness ; 
I dare not trust the sweetest frame, 
But wholly lean on Jesus' name. 

On Christ, the solid rock, I stand ; 
All other ground is sinking sand. 

2 When darkness veils his lovely face, 
I rest on his unchanging grace ; 

In every high and stormy gale, 
My anchor holds within the veil. 

3 His oath, his covenant, his blood, 
Support me in the whelming flood ; 
When all around my soul gives way, 
He then is all my hope and stay. 

4 When he shall come with trumpet sound, 

may I then in him be found ; 
Dressed in his righteousness alone, 
Faultless to stand before the throne ! 

Edxcard Mote. 

"A grand hymn of faith" is what Bish- 
op Bickersteth said of this poem, which 
was written in 1834 and first printed as a 
leaflet; and shortly thereafter the author 
published it in the Spiritual Magazine. 
It also appeared in the author's volume of 
original and selected poems titled Hymns 
of Praise, 1836, with the title, "The Im- 
mutable Basis of a Sinner's Hope." 

The first stanza is made up of the first 
two verses of the author : 

1 Nor earth nor hell my soul can move, 

1 rest upon unchanging love ; 

I dare not trust the sweetest frame, 
But wholly lean on Jesus' name. 

2 My hope is built on nothing less 
Than Jesus' blood and righteousness ; 
'Midst all the hell I feel within, 

On his completed work I lean. 

In verse two, the author wrote "upon" 
instead of "on his" in the second line, 
and "rough" instead of "high" in the 
third line. In verse three the first two 
lines of the original read: 

His oath, his cov'nant and his blood 
Support me in the sinking flood. 

In verse four the first two lines of the 
original are: 

When / shall launch in worlds unseen, 
O may I then be found in him. 

The fifth stanza, omitted above, is: 

5 I trust his righteous character, 
His council, promise, and his pow'r; 
His honor and his name's at stake 
To save me from the burning lake. 

The author says: 

One morning as I went to labor, it came 
into my mind to write a hymn on ''The Gra- 
cious Experience of a Christian." As I went 
up Holborn I had the chorus : 

On Christ, the solid rock, I stand ; 

All other ground is sinking sand. 

In the day I had the first four verses complete 
and wrote them off. 

While the words were thus fresh in 
mind and heart he sung them at the bed- 
side of a dying parishioner, who was so 
impressed and comforted by them that the 
author was encouraged to make larger use 
of them, hoping thereby to comfort and 
strengthen the faith of others. The hymn 
reads as if it might have been written on 
the words of Paul: "Other foundation can 
no man lay than that is laid, which is Je- 
sus Christ." 


C. M. 

JESUS, the all-restoring word, 
My fallen spirit's hope, 
After thy lovely likeness, Lord, 
Ah! when shall I wake up? 

2 Thou, O my God, thou only art 

The life, the truth, the way ; 
Quicken my soul, instruct my heart, 
My sinking footsteps stay. 

3 Of all thou hast in earth below, 

In heaven above, to give, 

Give me thy only love to know, 

In thee to walk and live. 

4 Fill me with all the life of love ; 

In mystic union join 
Me to thyself, and let me prove 
The fellowship divine. 

5 Open the intercourse between 

My longing soul and thee, 



Never to be broke off again 
To all eternity. 

Charles Wesley. 

Author's title: "A Morning Hymn" 
From Hymns and Sacred Poems, 1741. 

These are the first five verses un- 
changed, but the last stanza, which gives 
the reason for the writer's prayer, has 
been omitted: 

Grant this, O Lord : for Thou hast died 

That I might be forgiven ; 
Thou hast the Righteousness supplied 

For which I merit heaven. 


8s, 7s. 

THOU my everlasting portion, 
More than friend or life to me, 
All along my pilgrim journey, 
Saviour, let me walk with thee. 

Close to thee, close to thee, 

Close to thee, close to thee ; 
All along my pilgrim journey, 

Saviour, let me walk with thee. 

2 Not for ease or worldly pleasure, 

Nor for fame my prayer shall be ; 
Gladly will I toil and suffer, 
Only let me walk with thee. 

Close to thee, close to thee, 

Close to thee, close to thee ; 
Gladly will I toil and suffer, 

Only let me walk with thee. 

3 Lead me through the vale of shadows, 

Bear me o'er life's fitful sea ; 
Then the gate of life eternal, 
May I enter, Lord, with thee. 

Close to thee, close to thee, 

Close to thee, close to thee ; 
Then the gate of life eternal, 
May I enter, Lord, with thee. 

Fanny J. Crosby. 

This hymn on "Christ the Portion of 
His People" was first published in the au- 
thor's Songs of Grace and Glory, 1874. In 
her Memories of Eighty Years (1906) 
Fanny Crosby, speaking of her lifelong 
habits in connection with the writing of 
her hymns, says: "It may seem a little 
old-fashioned always to begin one's work 

with prayer; but I never undertake a 
hymn without first asking the good Lord 
to be my inspiration in the work that I 
am about to do." This may explain why 
so many of her songs are prayer-hymns. 

333 L- M. 61. 

JESUS, thy boundless love to me 
No thought can reach, no tongue declare ; 
O knit my thankful heart to thee, 

And reign without a rival there ! 
Thine wholly, thine alone, I am, 
Be thou alone my constant flame. 

2 O Love, how cheering is thy ray ! 

All pain before thy presence flies ; 
Care, anguish, sorrow, melt away. 

Where'er thy healing beams arise : 
O Jesus, nothing may I see, 
Nothing desire, or seek, but thee ! 

3 Unwearied may I this pursue ; 

Dauntless to the high prize aspire ; 
Hourly within my soul renew 

This holy flame, this heavenly fire : 
And day and night, be all my care 
To guard the sacred treasure there. 

4 In suffering be thy love my peace ; 

In weakness be thy love my power ; 
And when the storms of life shall cease, 

O Jesus, in that solemn hour, 
In death as life be thou my guide, 
And save me, who for me hast died. 

Paul Gerhardt. Tr. by John Wesley. 

From the German, a translation of Ger- 
hardt's "(7 Jesu Christ, mein schonster 
Licht." Wesley found it in the Herrnhut 
Gesang-Buch. 1731. The translation con- 
tains sixteen stanzas. These are one, 
three, four, and sixteen. 

Changes for the better have been made 
in four lines. This translation was pub- 
lished in Hymns and Sacred Poems, 1739. 



6, 6, 4, 6, 6, 6, 4. 

Y faith looks up to thee, 
Thou Lamb of Calvary, 

Saviour divine ! 
Now hear me while I pray, 
Take all my guilt away, 
O let me from this day 

Be wholly thine ! 

2 May thy rich grace impart 
Strength to my fainting heart, 
My zeal inspire ; 



As thou hast died for me, 

O may my lov. to thee 

Pure, warm, and changeless to . 

A living fire '. 

3 While life's dark maze I tread, 
And griefs around me spread, 

Be thou my guide ; 
Bid darkness turn to day, 
Wipe sorrow's tears away, 
Nor let me ever stray 

From thee aside. 

4 When ends life's transient dream, 
When death's cold, sullen stream 

Shall o'er me roll ; 
Blest Saviour, then, in love, 
Fear and distrust remove ; 
O bear me safe above, 

A ransomed soul ! 

Rau Palmer. 

"This hymn," says Dr. Theodore L. 
Ctiyler, "is by far the most precious con- 
tribution which American genius has yet 
made to the hymnology of the Christian 
Church." It was written in December, 
1830, when the author was only twenty- 
two years old. He had just graduated 
from Yale College, and had begun the 
study of theology, supporting himself by 
teaching in a seminary for young ladies 
in New York City. He was poor and in 
bad health, and was laboring under many 
discouragements when he wrote these 
verses, which were "born of his own soul." 
"I gave form to what I felt." he says, "by 
writing, with little effort, these stanzas. 
I recollect I wrote them with very tender 
emotion, and ended the last line with 
tears. I composed them with a deep con- 
sciousness of my own needs, without the 
slightest thought of writing for another 
eye. and least of all of writing a hymn for 
Christian worship." 

With little thought he placed the manu- 
script away in his pocket memorandum 
book, where it remained for a year or 
more, until one day Dr. Lowell Mason met 
him on the streets of Boston and asked 
him if he did not have something to con- 
tribute to a new hymn and tune book 
which he and Rev. Thomas Hastings were 
soon to issue (Spiritual Songs for Social 

^Yorship. 1832). He produced this hymn 
from his pocket notebook and made a copy 
of it for Dr. Mason, who went to his 
room and immediately wrote for it the 
now familiar tune called "Olivet." A few 
days later Dr. Mason met the author and 
accosted him thus: "Mr. Palmer, you may 
live many years and do many good things, 
but I think you will be best known to pos- 
terity as the author of 'My faith looks up 
to Thee.' " All of which has been literally 

"Self-Consecration" is the title which 
the author first gave to this hymn. It orig- 
inally had six stanzas, the first two being 
the translation of a poetic description in 
German of "A Suppliant before the 
Cross," which the author chanced to come 
upon in his reading, and which so deeply 
impressed and touched him that he at 
once translated the two verses into Eng- 
lish. He then added four stanzas of his 
own, in which he undertakes to set forth 
what the suppliant is saying. These four 
stanzas constitute the hymn as it is now 
known and sung everywhere. The first 
i edition had in the fourth stanza, line five, 
the word "distress" instead of "distrust," 
but it seems to have been a typographical 

It is something unusual that an author's 
first hymn should be his best and greatest 
hymn, but this is true of this author and 
of this his first hymn. It is still more 
remarkable that a hymn written by a the- 
ological student only twenty-two years old 
should come to be recognized as the great- 
est of all the hymns ever written by Amer- 
icans. This is one of the few American 
hymns that has become popular in En- 
gland, being found in nearly all the Eng- 
lish hymnals except that of the English 
Church. It has been translated into about 
thirty different languages. In Europe, Af- 
rica, Asia, and the islands of the sea, as 
well as in America, it is admired and 
sung, and has become one of the favorite 
channels of devotion to worshiping assem- 
i blies everywhere throughout the world. 



This is one of the noblest prayer-hymns 
ever written. It is throughout an expres- 
sion of sincere penitence and saving faith, 
and of a lofty aspiration after the full 
realization of the experience and life that 
have been made possible to the Christian 
believer by grace. The first verse is a 
prayer for conversion and consecration; 
the second verse is a prayer for perse- 
verance, zeal, and love in Christian serv- 
ice; the third verse is a prayer for sus- 
taining grace and divine guidance while 
the soul's sanctification is being wrought 
out through suffering and sacrifice; the 
fourth verse is a prayer for dying grace 
and for the safe and happy passage to the 
life eternal that is vouchsafed to the ran- 
somed soul. 

In a letter to Bishop Bickersteth, writ- 
ten shortly before he died, the author said 
of this hymn: 

It was introduced into England in 1840, has 
been translated into other languages, and has 
been referred to as one of the last hymns 
that dying saints have sung or desired to 
hear in a great number of obituary notices 
that have met my eye. It has been a comfort 
to Christian hearts, doubtless, chiefly because 
it expresses in a simple way that act which is 
most central in all true Christian life — the 
act of trust in the atoning Lamb. 

This hymn was perhaps never used in a 
more suggestive and impressive manner 
than it was by a group of soldiers during 
the Civil War: 

It was the evening before a great battle 
was to be fought, and the soldiers had met in 
one of the tents for prayer and such words 
and messages as they well knew might 
prove the last for many of them. One sug- 
gested that, as they stood thus face to face 
with death and with the realities of the un- 
seen world, they should draw up and sign a 
paper expressive of their faith and trust in 
that solemn hour, that it might be sent as a 
dying message and testimony to the friends 
and loved ones of such as should fall in bat- 
tle. One of the number who had learned this 
hymn by heart suggested that it would make 
a fitting document for them to sign in the 
face of death, and they all agreed. He there- 

upon wrote it out, and each man signed his 
name to it. Only one of the number lived 
through the battle to tell the tale of this their 
death covenant and transmit the precious doc- 
ument to the loved ones of those who fell. 

Surely that must be a well-nigh perfect 
hymn of trust and prayer that Christian be- 
lievers can thus adopt as the best possible ex- 
pression of their penitence and faith and hope 
in the dying hour. Safe and serene will be 
the rest of that soul who, pitching his tent 
night after night a day's march nearer home, 
can affix his name to this hymn as a cove- 
nant with God and a testimony to his fellow- 


L. M. 

I THIRST, thou wounded Lamb of God, 
To wash me in thy cleansing blood ; 
To dwell within thy wounds ; then pain 
Is sweet, and life or death is gain. 

2 Take my poor heart, and let it be 
Forever closed to all but thee ; 

Seal thou my breast, and let me wear 
That pledge of love forever there. 

3 How blest are they who still abide 
Close sheltered in thy bleeding side, 

Who thence their life and strength derive, 
And by thee move, and in "thee live! 

4 How can it be, thou heavenly King, 
That thou shouldst us to glory bring? 
Make slaves the partners of thy throne, 
Decked with a never-fading crown? 

5 Hence our hearts melt, our eyes o'erflow, 
Our words are lost, nor will we know, 
Nor will we think of aught beside, 

"My Lord, my Love is crucified." 

N. L. Zinzenclorf and J. Nitschmann. 

Tr. by John Wesley. 

In his translation, containing eight stan- 
zas, Wesley tried to take the cream of four 
different German hymns. The first two 
stanzas are from a hymn of the Moravian 
Bishop Zinzendorf beginning: "Ach! mein 
verwundter Filrste" 

The other three verses were translated 
from J. Nitschmann's hymn beginning: 
"Dw blutiger Yersilhner!" 

Verses seven and eight, omitted above, 
were built upon fragments of two others. 

The translation first appeared in Hymns 
and Sacred Poems, London, 1740. 




i L. M. 

Y gracious Lord, I own thy right 
To every service I can pay, 

And call it my supreme delight 
To hear thy dictates, and obey. 

- What is my being but for thee, 

Its sure support, its noblest end? 
'Tis my delight thy face to see, 

And serve the cause of such a Friend. 

3 I would not sigh for worldly joy, 

Or to increase my worldly good ; 
Nor future days nor powers employ 
To spread a sounding name abroad. 

4 'Tis to my Saviour I would live, 

To him who for my ransom died: 
Nor could all worldly honor give 
Such bliss as crowns me at his side. 

5 His work my hoary age shall bless, 

When youthful vigor is no more ; 
And my last hour of life confess 
His dying love, his saving power. 

Philip Doddridge. 

"Christ's Service the Fruit of our La- 
bors on Earth" is the title which the au- 
thor gave this hymn. It is found in his 
Hymns. 1755. It is one of Dr. Doddridge's 
best hymns. Addressed to Jesus Christ as 
Lord, it recognizes in him "such a Friend" 
as we should love and live for alike in the 
vigor of youth and in hoary age. 

The third line in the second stanza was 
originally: "Thine ever-smiling face to 
see." The first line of the third stanza 
had "breathe" instead of "sigh," and the 
fourth stanza had "untainted Eden" in- 
stead of "all worldly honor," while the 
last line of the hymn read: "His love hath 
animating power." 



PRINCE of Peace, control my will ; 
Bid this struggling heart be still ; 
Bid my fears and doubtings cease, 
Hush my spirit into peace. 

2 Thou hast bought me with thy blood. 
Opened wide the gate to God : 
Peace I ask, but peace must be, 
Lord, in being one with thee. 

3 May thy will, not mine, be done ; 
May thy will and mine be one; 

Chase these doubtings from my heart, 
Now thy perfect peace impart. 

4 Saviour, at thy feet T fall, 
Thou my life, my God, my all ! 
Let thy happy servant be 
One for evermore with thee ! 

Mary A. S. Barber. 

We are glad that at last the authorship 
of this useful prayer-song has been set- 
tled and its history ascertained. 

Several editors have attributed the au- 
thorship to an American writer, Mrs. M. 
B. Shindler. It is of English origin, wa3 
written by Miss Barber, and first appeared 
in the Church of England Magazine March 
3, 1838, in four eight-lined stanzas. Title: 
"He is our Peace." (Eph. ii. 14.) 

We give the original poem. It will be 
seen that the hymn is made up of the first 
stanza and parts of the others slightly al- 

1 Prince of Peace control my will ; 
Bid this struggling heart be still : 
Bid my fears and doubtings cease, 
Hush my spirit into peace. 

Thou hast bought me with thy blood, 
Opened wide the way to God : 
Peace I ask, but peace must be, 
Lord, in being one. with thee. 

2 Thou who still'd the raging deep 
Placidly to childlike sleep ; 

Thou whose voice the maniac heard, 
Knew, and straight confessed his Lord ; 
Thou who hush'd the mourner's cry 
Mid maternal agony. 
Chase these doubtings from my heart ; 
Faith and perfect peace impart. 

3 King of Salem ! strong to save, 
No testatic joy I crave; 

Let thy Spirit's soothing calm 
Glide into my soul like balm : 
Raise my heart to things above, 
Modulate my soul to love : 
May thy will, not mine, be done ; 
May thy will and mine be one. 

4 Saviour ! at thy feet I fall ; 
Broken is the parting all : 
Thou the foe hast reconcil'd ; 
Tam'd the rebel to the child. 
Lord of glory, I am thine ; 
Let thy peace around me shine, 
And thy happy servant be 

One with God, and one with thee. 




C. M. 


O not I love thee, O my Lord? 

Then let me nothing love ; 
Dead be my heart to every joy, 

When Jesus cannot move. 

2 Is not thy name melodious still 

To mine attentive ear? 
Doth not each pulse with pleasure bound 
My Saviour's voice to hear? 

3 Hast thou a lamb in all thy flock 

I would disdain to feed? 
Hast thou a foe, before whose face 
I fear thy cause to plead? 

4 Would not mine ardent spirit vie 

With angels round the throne, 
To execute thy sacred will, 
And make thy glory known? 

5 Thou know'st I love thee, dearest Lord, 

But O, I long to soar 
Far from the sphere of mortal joys, 
And learn to love thee more ! 

Philip Doddridge. 

"An Appeal to Christ for the Sincerity 
of Love to Him," based on John xxi. 15: 
"Jesus saith to Simon Peter, Simon, son of 
Jonas, lovest thou me more than these? 
He saith unto him, Yea, Lord; thou know- 
est that I love thee. He saith unto him, 
Feed my lambs." From the author's 
Hymns, 1755. 

The first and sixth stanzas of the 
original have been omitted: 

1 Do not I love thee, O my Lord? 
Behold my heart and see ; 
And turn each cursed idol out, 
That dares to rival thee. 

6 Would not my heart pour forth its blood 

In honor of thy name? 
And challenge the cold hand of death 
To damp th' immortal flame? 

This hymn on "Love to Christ" is fre- 
quently compared with another by Dod- 
dridge which many consider the finest he 
ever wrote, and which, being unfortunate- 
ly omitted from our Hymnal, we repro- 
duce here. It was written to be sung aft- 
er a sermon on 1 Peter ii. 7: "Unto you 
therefore which believe he is precious." 

1 Jesus, I love thy charming name, 

'Tis music to my ear ; 
Fain would I sound it out so loud, 
That earth and heaven should hear. 

2 Yea, thou art precious to my soul, 

My transport and my trust ; 
Jewels, to thee, are gaudy toys, 
And gold is sordid dust. 

3 All my capacious powers can wish, 

In. thee doth richly meet ; 
Nor to mine eyes is light so dear, 
Nor friendship half so sweet. 

4 Thy grace still dwells upon my heart, 

And sheds its fragrance there ; 
The noblest balm of all its wounds, 
The cordial of its care. 

5 I'll speak the honors of thy name 

With my last, lab'ring breath ; 
Then speechless clasp thee in mine arms, 
The antidote of deatn. 

Speaking of the above and other hymns 
by Dr. Doddridge, >a writer in the North 
British Revieio says: "If amber is the 
gum of fossil trees, fetched up and floated 
off by the ocean, hymns like these are a 
spiritual amber. Most of the sermons to 
which they originally pertained have dis- 
appeared forever; but at once beautiful 
and buoyant, these sacred strains are des- 
tined to carry the devout emotions of 
Doddridge to every shore where his Mas- 
ter is loved and where his mother tongue 
is spoken." 


L. M. 


OW shall I follow Him I serve? 
How shall I copy him I love? 
Nor from those blessed footsteps swerve, 
Which lead me to his seat above? 

2 Lord, should my path through suffering lie, 

Forbid it I should e'er repine ; 
Still let me turn to Calvary, 

Nor heed my griefs, remembering thine. 

3 O let me think how thou didst leave 

Untasted every pure delight, 
To fast, to faint, to watch, to grieve, 
The toilsome day, the homeless night : — 

4 To faint, to grieve, to die for me ! 

Thou earnest not thyself to please : 
And, dear as earthly comforts be, 

Shall I not love thee more than these? 



5 V< s : I would count them all but loss, 
To gain the notice of thine eye: 
Flesh shrinks and trembles at the cross, 
But thou canst give the victory. 

Josiah Conder. 

Based upon John xii. 26: "If any man 
serve me, let him follow me." From the 
author's Star in the East, London, 1824. 
Eleven stanzas. These are one, four, six, 
seven, and eight. 

A wholesome meditation, emphasizing 
the thought that the followers of Christ 
are not to shrink at trials and difficulties, 
but to be brave imitators of the Master. 


S. M. 

JESUS, my strength, my hope, 
On thee I cast my care, 
With humble confidence look up, 

And know thou hear'st my prayer. 
Give me on thee to wait, 
Till I can all things do, 
On thee, almighty to create, 
Almighty to renew. 

2 I want a sober mind, 

A self-renouncing will, 
That tramples down, and casts behind 

The baits of pleasing ill : 
A soul inured to pain, 

To hardship, grief, and loss ; 
Bold to take up, firm to sustain, 

The consecrated cross. 

3 I want a godly fear, 

A quick, discerning eye, 
That looks to thee when sin is near, 

And sees the tempter fly : 
A spirit still prepared, 

And armed with jealous care ; 
Forever standing on its guard, 

And watching unto prayer. 

Charles Wesley. 

"A Poor Sinner" is the title of the orig- 
inal poem of seven double stanzas from 
which this is taken and which is found 
in Psalms and Hymns, 1741. The above 
are the first, third, and fourth stanzas. 
The last stanza puts a truth very impres- 

I want with all my heart 

Thy pleasure to fulfill, 
To know myself, and what Thou art, 

And what Thy perfect will. 
I want I know not what, 

I want my wants to see, 

I want — alas ! what want I not, 
When Thou art not in me? 

"Do you want to be a Christian?" asked 
a minister of the gospel once of an uncon- 
verted man who appeared somewhat seri- 
ous. "If I may answer you frankly, no," 
said the man. "Well, can you not truly 
say," continued the minister, "that you 
want to want to be a Christian?" "Yes," 
said he, "I can say that." "Shall we not 
pray God now to give you a desire to be 
saved and make you want to want to be a 
Christian?" the minister pleaded. The 
prayer was offered in faith, and the man 
was not long in feeling the "want" for 
which he prayed, nor long thereafter in 
having his want satisfied by finding the 
Saviour that he sought. This hymn by 
Charles Wesley is well adapted to meet- 
ing the needs of "a poor sinner" like this. 


L. M. 

THOU, who hast at thy command 
The hearts of all men in thy hand, 
Our wayward, erring hearts incline 
To have no other will but thine. 

2 Our wishes, our desires, control ; 
Mold every purpose of the soul ; 
O'er all may we victorious prove 
That stands between us and thy love. 

3 Thrice blest will all our blessings be, 
When we can look through them to thee ; 
When each glad heart its tribute pays 
Of love and gratitude and praise. 

4 And while we to thy glory live, 
May we to thee all glory give, 
Until the final summons come, 

That calls thy willing servants home. 

Jane CotteriU. 

Title: "For Entire Subjection to the 
Will of God." 

The original has six stanzas. These 
are verses one, two, three, and six. 

One couplet has been changed. The au- 
thor wrote the last part of verse two: 

O'er all may we victorious be 

That stands between ourselves and Thee. 

The author wrote, verse four, line three: 
Until the joyful summons come. 




This valuable lyric was contributed to 
the sixth edition of Thomas Cotterill's Se- 
lection, 1815. 

The form of this hymn is ideal, and its 
spirit is calculated to cultivate Christian 
devotion. The third verse is a gem of 
rare poetic value and beauty. 

343 L. M. 

LORD, I am thine, entirely thine, 
Purchased and saved by blood divine ; 
With full consent thine I would be, 
And own thy sovereign right in me. 

2 Grant one poor sinner more a place 
Among the children of thy grace ; 

A wretched sinner, lost to God, 
But ransomed by Immanuel's blood. 

3 Thine would I live, thine would I die, 
Be thine through all eternity ; 

The vow is past beyond repeal, 
And now I set the solemn seal. 

4 Here, at that cross where flows the blood 
That bought my guilty soul for God, 
Thee, my new Master, now I call, 

And consecrate to thee my all. 

Samuel Davies. 

This is one of the finest consecration 
hymns in the language. The author ti- 
tled it "Self -Dedication at the Table of 
the Lord" The second, fifth, and seventh 
stanzas of the original are omitted: 

2 Here, Lord, my Flesh, my Soul, my All, 
I yield to Thee beyond Recall ; 
Accept thine own, so long withheld, 
Accept what I so freely yield ! 

5 Be thou the Witness of my Vow, 
Angels and Men attest it too, 
That to thy Board I now repair, 
And seal the sacred Contract there. 

7 Do Thou assist a feeble Worm 
The great Engagement to perform : 
Thy Grace can full Assistance lend, 
And on that Grace I dare depend. 

The author died in 1761, but this hymn 
was not published until 1769, when Rev. 
Thomas Gibbons gave it a place in his 
volume of Hymns published that year. 


C. M. 

LORD ! when I all things would possess, 
I crave but to be thine ; 

lowly is the loftiness 
Of these desires divine. 


2 Each gift but helps my soul to learn 

How boundless is thy store ; 

1 go from strength to strength, and yearn 

For thee, my Helper, more. 

3 How can my soul divinely soar, 

How keep the shining way, 

And not more tremblingly adore, 

And not more humbly pray? 

4 The more I triumph in thy gifts, 

The more I wait on thee ; 

The grace that mightily uplifts 

Most sweetly humbleth me. 

5 The heaven where I would stand complete 

My lowly love shall see, 
And stronger grow the yearning sweet, 
O holy One ! for thee. 

Thomas H. Gill. 

Title: "Lowly Ambition:' Eight stan- 
zas in the author's Golden Chain of Praise, 
London, 1869. This hymn. is made up of 
verses one, three, five, six, and eight ver- 

Like many others, this hymn had to be 
severely cut to bring it within reasonable 
limits. Experience teaches that three 
double stanzas or four or five single verses 
are about all that can be allowed for the 
average hymn. 

344 6s, 5s. D. 

SAVIOUR, blessed Saviour, 
Listen while we sing ; 
Hearts and voices raising 
Praises to our King ; 
. All we have to offer, 
All we hope to be ; 
Body, soul, and spirit, 
All we yield to thee. 

2 Nearer, ever nearer, 

Christ, we draw to thee, 
Deep in adoration 

Bending low the knee : 
Thou for our redemption 

Cam'st on earth to die : 
Thou, that we might follow, 

Hast gone up on high. 



3 Gnat and ever greater 

Are thy mercies here, 
True and everlasting 

Are the glories there ; 
Where do pain, or sorrow, 

Toil, or care, is known, 
Where the angel legions 

Circle round thy throne. 

4 Clearer still, and clearer, 

Dawns the light from heaven 

In our sadness bringing 

News of sins forgiven; 
Life has lost its shadows; 

Pure the light within ; 
Thou hast shed thy radiance 

On a world of sin. 

5 Brighter still, and brighter, 

Glows the western sun, 
Shedding all its gladness 

O'er our work that's done ; 
Time will soon be over, 

Toil and sorrow past, 
May we, blessed Saviour, 

Find a rest at last ! 

6 Onward, ever onward. 

Journeying o'er the road 
Worn by saints before us, 

Journeying on to God ! 
Leaving all behind us, 

May we hasten on, 
Backward never looking 

Till the prize is won. 

7 Higher, then, and higher, 

Bear the ransomed soul, 
Earthly toils forgetting, 

Saviour, to its goal ; 
Where in joys unthought of 

Saints with angels sing, 
Never weary, raising 

Praises to their King. 

Godfrey Tliring. 

"Pressing Onwards" is the title of this 
processional hymn, which, although writ- 
ten in 1862, was not published until 1866, 
when it appeared in Hymns, Congrega- 
tional and Others, in eight stanzas of 
eight lines each. When it was republished 
in Church Hymns, 1871, the author added 
another stanza beginning, "Farther, ever 
farther." Two stanzas, therefore, are 
omitted. Nevertheless, it is still, as it ap- 
pears above, the longest hymn in this 
Hymnal. Processional hymns which are 

frequently sung in Episcopal Churches 
have never been much used among the 
Methodists. As, however, they are now 
being more frequently called for in con- 
nection with our young people's celebra- 
tions, 4t was thought well to provide a 
few processional hymns like this, suited 
to being sung while marching. 


L. M. 61. 

THOU hidden love of God, whose height, 
Whose depth unfathomed, no man knows, 
I see from far thy beauteous light, 

Inly I sigh for thy repose : 
My heart is pained, nor can it be 
At rest, till it finds rest in thee. 

2 Is there a thing beneath the sun, 

That strives with thee my heart to share? 
Ah, tear it thence, and reign alone, 

The Lord of every motion there ! 
Then shall my heart from earth be free, 
When it hath found repose in thee. 

3 O Love, thy sovereign aid impart, 

To save me from low-thoughted care ; 
Chase this self-will through all my heart, 

Through all its latent mazes there ; 
Make me thy duteous child, that I 
Ceaseless may, 'Abba, Father," cry. 

4 Each moment draw from earth away 

My heart, that lowly waits thy call ; 
Speak to my inmost soul, and say, 

"I am thy Love, thy God, thy All '." 
To feel thy power, to hear thy voice, 
To taste thy love, be all my choice. 

Gerhard Tersteegen. 
Tr. by John Wesley. 

From the German. A translation of 
Tersteegen's "Terborgne Gottes-Liebe du." 
The original ten stanzas Wesley found in 
the Hemnhut Gesang-Buch. 1731. 

The translation was made in 1736 at 
Savannah, Ga. It was first published in 
A Collection of Psalms and Hymns, Lon- 
don, 1738. The translation has eight 
verses. This hymn is composed of one, 
four, six, and eight. 

Lord Selborne, an English hymnologist, 
said: "Of all the more copious German 
hymn-writers after Luther. Tersteegen 
was perhaps the most remarkable man. 
Pietist, mystic, and missionary, he was 
also a great religious poet." 



346 8, 7, 8, 7, 3. 

LORD, I hear of showers of blessing 
Thou art scattering full and free ; 
Showers, the thirsty land refreshing; 
Let some drops now fall on me, 
Even me. 

Even me, even me, 
Let some drops now fall on me. 

2 Pass me not, O gracious Father, 

Sinful though my heart may be ; 
Thou mightst leave me, but the rather 
Let thy mercy light on me, 
Even me. 

3 Pass me not, O tender Saviour, 

Let me love and cling to thee ; 
I am longing for thy favor ; 

While thou'rt calling, O call me, 
Even me. 

4 Pass me not, O mighty Spirit, 

Thou canst make the blind to see ; 
Witnesser of Jesus' merit, 

Speak the word of power to me, 
Even me. 

5 Love of God, so pure and changeless, 

Blood of Christ, so rich, so free, 
Grace of God, so strong and boundless, 
Magnify them all in me, 
Even me. 

Elisabeth Codner. 

Two stanzas of the original have been 

5 Have I long in sin been sleeping — 
Long been slighting, grieving thee? 
Has the world my heart been keeping? 
O ! forgive, and rescue me, 
Even me. 

7 Pass me not, thy lost one bringing, 
Bind my heart, O Lord, to thee ; 
While the streams of life are springing, 
Blessing others, O bless me, 
Even me. 

This hymn was written in 1860 and pub- 
lished as a leaflet in 1861. It has attained 
such widespread popularity and useful- 
ness, and is so serviceable in revival meet- 
ings, that we give in full the author's ac- 
count of its origin: 

A party of young friends over whom I was 
Watching with anxious hope attended a meet- 

ing in which details were given of a revival 
work in Ireland. They came back greatly 
impressed. My fear was lest they should be 
satisfied to let their own fleece remain dry, 
and I pressed upon them the privilege and re- 
sponsibility of getting a share in the out- 
poured blessing. On the Sunday following, 
not being well enough to get out, I had a 
time of quiet communion. Those children 
were still on my heart, and I longed to press 
upon them an earnest individual appeal. 
Without effort words seemed to be given to 
me, and they took the form of a hymn. I had 
no thought of sending it beyond the limits of 
my own circle, but, passing it on to one and 
another, it became a word of power, and I 
then published it as a leaflet. Of its future 
history I can only say the Lord took it quite 
out of my own hands. It was read from pul- 
pits, circulated by tens of thousands, and 
blessed in a remarkable degree. Every now 
and then some sweet token was sent to cheer 
me in a somewhat isolated life, of its influ- 
ence upon souls. Now it would be tidings 
from afar of a young officer dying in India 
and sending home his Bible with the hymn 
pasted on the flyleaf as the precious memo- 
rial of that which brought him to the Lord. 
Then came the story of a poor outcast gath- 
ered into the fold by the same means. Then 
came to me a letter given me by Mr. E. P. 
Hammond, which he had received, and in 
which were the words : "Thank you for sing- 
ing that hymn 'Even Me,' for it was the sing- 
ing of that hymn that saved me. I was a lost 
woman, a wicked mother. I have stolen and 
lied and been so bad to my dear, innocent 
children. Friendless, I attended your inquiry 
meeting ; but no one came to me because of 
the crowd. But on Saturday afternoon, at 
the First Presbyterian Church, when they all 
sang that hymn together, those beautiful 
words, 'Let some drops now fall on me,' and 
also those, 'Blessing others, O bless me,' it 
seemed to reach my very soul. I thought, 
'Jesus can accept me — "even me," ' and it 
brought me to his feet, and I feel the burden 
of sin removed. Can you wonder that I love 
those words and I love to hear them sung?" 

The original rendering has in a variety of 
instances been departed from. To some al- 
terations I have consented, but always prefer 
that the words remain unchanged from the 
form in which at first God so richly blessed 
them. The point of the hymn, in its close 
and individual application, is in the "Even 
me" at the end of the verse. I thankfully 
commit them to whoever desires to use them 
in the services of our blessed Master. 



347 L.M. 

LORD, thou hast promised grace for grace 
To all who daily seek thy lace; 
To them who have, thou givest more 
Out of thy vast, exhaustless store. 

2 Each step we take but gathers strength 
For further progress, till at length, 
With ease the highest steeps we gain, 

And count the mountain but a plain. 

:: Who watch, and pray, and work each hour 
Receive new life and added power, 
A power fresh victories to win 
Over the world, and self, and sin. 

4 Help us, O Lord, that we may grow 
In grace as thou dost grace bestow ; 
And still thy richer gifts repeat 
Till grace in glory is complete. 

Samuel K. Cox. 

This hymn first appeared in print in the 
Baltimore and Richmond Christian Advo- 
cate, hut was not otherwise used until 
published here in the Methodist Hymnal. 
The Scripture passage referred to is in 
John i. 16: "And of his fullness have all 
we received, and grace for grace." The 
hymn is didactic in form until we reach 
the last stanza, which is a rich and ap- 
propriate prayer. 

3-48 7s. D. 

TAKE my life, and let it be 
Consecrated, Lord, to thee ; 
Take my moments and my days ; 
Let them flow in ceaseless praise ; 
Take my hands, and let them move 
At the impulse of thy love ; 
Take my feet, and let them be 
Swift and beautiful for thee. 

2 Take my voice, and let me sing, 
Always, only, for my King. 
Take my lips, and let them be 
Filled with messages from thee. 
Take my silver and my gold ; 
Not a mite would I withhold. 
Take my intellect, and use 
Every power as thou shalt choose. 

3 Take my will, and make it thine ; 
It shall be no longer mine. 
Take my heart, it is thine own ; 
It shall be thy royal throne. 
Take my love ; my Lord, I pour 
At thy feet its treasure-store. 
Take myself, and I will be 
Ever, only, all for thee. 

Frances R. Havergal. 

This beautiful hymn of consecration 
was written at Areley House, England, 
February 4, 1S74, in eleven stanzas of two 
lines each, and was first published in the 
author's volume titled Loyal Responses, 
1878. It has been translated into nearly 
all of the European languages and into 
several of the languages of Asia and Af- 
rica. In a letter to her sister Miss Haver- 
gal gives an account of the origin of this 

Perhaps you will be interested to know the 
origin of the consecration hymn, "Take my 
life." I went for a little visit of five days 
[to Areley House]. There were ten persons 
in the house, some unconverted and long 
prayed for ; some converted, but not rejoicing 
Christians. He gave me the prayer: "Lord, 
give me all in this house." And He just did! 
Before I left the house every one had got a 
blessing. The last night of my visit, after I 
had retired, the governess asked me to go to 
the two daughters. They were crying, etc. 
Then and there both of them trusted and re- 
joiced. It was nearly midnight. I was too 
happy to sleep, and passed most of the night 
in praise and renewal of my own consecra- 
tion ; and these little couplets formed them- 
selves and chimed in my heart one after an- 
other until they finished with "Ever, Only, 
ALL for thee !" 

Miss Havergal always sang the hymn 
to a tune titled "Patmos," which her fa- 
ther composed especially for it. About 
six months before she died she wrote: 

■I had a great time early this morning, re- 
newing the never-regretted consecration. I 
seemed led to run over the "Take my life," 
and could bless Him verse by verse for having 
led me on to much more definite consecration 
than even when I wrote it — voice, gold, intel- 
lect, etc. But the eleventh couplet, 

"Take my love ; ray Lord, I pour 
At thy feet its treasure-store," 

that has been unconsciously not filled up. 
Somehow I feel mystified and out of my depth 
here. It was a simple and definite thing to 
be done, to settle the voice, or silver and gold; 
but love? I have to love others, and I do; 
and I've not a small treasure of it, and even 
loving in Him does not quite meet the inner 
difficulty. I shall just go forward and expect 
Him to fill it up, and let my life from this 
day answer really to that couplet. The worst 
part of me is that I don't in practice prove 



my love to Him by delight in much and long 
communion with Him ; hands and head seem 
so full of other things (which yet are His 
given work) that heart seems not free to 
serve in fresh and vivid love. 

349 6, 4, 6, 4, 6, 6, 6, 4. 

SAVIOUR, thy dying love 
Thou gavest me, 
Nor should I aught withhold, 

Dear Lord, from thee ; 
In love my soul would bow, 
My heart fulfill its vow, 
Some offering bring thee now, 
Something for thee. 

2 At the blest mercy seat, 

Pleading for me, 
My feeble faith looks up, 

Jesus, to thee ; 
Help me the cross to bear, 
Thy wondrous love declare, 
Some song to raise, or prayer, 

Something for thee. 

3 Give me a faithful heart, 

Liveness to thee, 
That each departing day 

Henceforth may see 
Some work of love begun, 
Some deed of kindness done, 
Some wanderer sought and won, 

Something for thee. 

4 All that I am and have, 

Thy gifts so free, 
In joy, in grief, through life, 

Dear Lord, for thee ! 
And when thy face I see, 
My ransomed soul shall be, 
Through all eternity, 

Something for thee. 

Sylvanus D. Phelps. 

Dr. Robert Lowry, the composer of the 
music to which this hymn is set, request- 
ed Mr. Phelps to furnish some hymns for 
Pure Gold, a Sunday school singing book 
he was editing. Among the contributions 
he furnished was this hymn, which had 
previously been printed in the Watchman 
and Reflector, Boston. Upon the author's 
seventieth birthday Dr. Lowry wrote 
him a letter of congratulation in which he 

It is worth living seventy years even if 
nothing comes of it but one such hymn as 
"Saviour, thy dying love." Happy is the man 

who can produce one song which the world 
will keep on singing after its author shall 
have passed away. 

350 7s, 6s. D. 

JESUS, I have promised 

To serve thee to the end ; 
Be thou forever near me, 

My Master and my Friend : 
I shall not fear the battle 

If thou art by my side, 
Nor wander from the pathway 

If thou wilt be my guide. 

2 O let me feel thee near me ; 

The world is ever near ; 
I see the sights that dazzle, 

The tempting sounds I hear : 
My foes are ever near me, 

Around me and within ; 
But, Jesus, draw thou nearer, 

And shield my soul from sin. 

3 O Jesus, thou hast promised 

To all who follow thee, 
That where thou art in glory 

There shall thy servant be ; 
And, Jesus, I have promised 

To serve thee to the end ; 

give me grace to follow, 
My Master and my Friend. 

John E. Bode. 

This was written by the author in 1866 
for the confirmation of his son, the late 
Rev. C. E. Bode. It was first published 
in 1869 in the Appendix to a volume titled 
Psalms and Hymns, issued by the Socie- 
ty for the Promotion of Christian Knowl- 

351 7s 

I AM coming to the cross ; 
I am poor, and weak, and blind ; 
I am counting all but dross, 

1 shall full salvation find. 

I am trusting, Lord, in thee, 
Blest Lamb of Calvary ; 
Humbly at thy cross I bow, 
Save me, Jesus, save me now. 

2 Long my heart has sighed for thee, 

Long has evil reigned within ; 
Jesus sweetly speaks to me, 

"I will cleanse you from all sin." 

3 Here I give my all to thee, 

Friends, and time, and earthly store ; 



Soul and body thine to be, 
Wholly thine for evermore. 

4 In thy promises I trust, 

Now I feel the blood applied, 
I am prostrate in the dust, 
I with Christ am crucified. 

5 Jesus comes ! he fills my soul ! 

Perfected in him I am ; 
I am every whit made whole: 
Glory, glory to the Lamb! 

William McDonald. 

In a letter dated Monrovia, Cal., Janu- 
ary 31, 1889, the writer of this hymn said: 

The hymn was written in IS 70 in the city 
of Brooklyn, N. Y., while I was a pastor in 
that city. I had felt the need of a hymn to 
aid seekers of heart purity while at the altar. 
I desired something simple in expression, true 
to experience, and ending in the fullness of 
love. The tune composed by Mr. Fisher, with 
the first two lines of the chorus, I had seen, 
and was much pleased with their simplicity. 
And as I was sitting in my study one day, 
the line of thought came rushing into my 
mind, and I began to write, and in a few mo- 
ments the hymn was on paper. It was first 
sung at a national camp meeting held at 
Hamilton, Mass., June 22, 1ST 0. It has been 
translated into many languages and sung all 
round the globe. 

352 S. M. 

LORD, in the strength of grace, 
With a glad heart and free, 
Myself, my residue of days, 
I consecrate to thee. 

2 Thy ransomed servant, I 

Restore to thee thine own ; 
And, from this moment, live or die 
To serve my God alone. 

Charles Wesley. 

This brief but beautiful hymn of conse- 
cration to service is one of the author's 
Short Hymns on Select Passages of the 
Holy scriptures. 1762. It is founded on 
1 Chronicles xxix. 5: "Who then is willing 
to consecrate his service this day unto the 

353 7s, 6s. D. 

I COULD not do without thee, 
O Saviour of the lost, 
Whose precious blood redeemed me 
At such tremendous cost : 

Thy righteousness, thy pardon, 
Thy precious blood must be 

My only hope and comfort, 
My glory and my plea. 

2 I could not do without thee, 

I cannot stand alone, 
I have no strength or goodness, 

No wisdom of my own : 
But thou, beloved Saviour, 

Art all in all to me, 
And weakness will be power 

If leaning hard on thee. 

3 I could not do without thee, 

For O, the way is long, 
And I am often weary, 

And sigh replaces song : 
How could I do without thee? 

I do not know the way ; 
Thou knowest and thou leadest, 

And wilt not let me stray. 

4 I could not do without thee ; 

No other friend can read 
The spirit's strange, deep longings, 

Interpreting its need : 
No human heart could enter 

Each dim recess of mine, 
And soothe and hush and calm it, 

O blessed Lord, like thine. 

Frances R. Havergal. 

Title: "Jesus All in All." It was writ- 
ten May 7, 1873. It appeared first in 
Home Words the same year. 

W. Garrett Horder, in The Hymn Lov- 
er, speaking of Miss Havergal's hymns, 

They have done much to foster that warm- 
er and more consecrated type of religion 
which is one of the remarkable features of 
our time and is the real barrier against the 
spirit of skepticism which is so common, 
whilst they show how independent of dogmat- 
ic formularies is the religious life. 


C. M. 

FOR a heart to praise my God, 
A heart from sin set free, 
A heart that always feels thy blood 
So freely spilt for me ! 

2 A heart resigned, submissive, meek, 

My great Redeemer's throne ; 
Where only Christ is heard to speak, 
Where Jesus reigns alone ; 

3 A humble, lowly, contrite heart, 

Believing, true, and clean, 




Which neither life nor death can part 
From him that dwells within ; 

4 A heart in every thought renewed, 

And full of love divine ; 
Perfect, and right, and pure, and good, 
A copy, Lord, of thine ! 

5 Thy nature, gracious Lord, impart ; 

Come quickly from above, 
Write thy new name upon my heart, 
Thy new, best name of love. 

Charles Wesley. 

"Make Me a Clean Heart, God" is the 
title of this hymn, which is one of the 
finest Charles Wesley ever wrote, and is 
scarcely less popular than "A charge to 
keep I have." The author wrote "An 
heart" throughout the hymn. Instead of 
"O for a lowly, contrite heart," he wrote 
"An humble, lowly," etc. In verse two, 
line two, he wrote "clear Redeemer." 
These changes were made by John Wes- 
ley for his Collection published in 1780. 
The hymn is improved by the omission of 
three inferior stanzas, the fifth, sixth, and 
seventh of the original. It is taken from 
Hymns and Sacred Poems, 1742. 

John Wesley quotes from this hymn in 
his Journal in a curious and suggestive 
manner: "I find scarcely any temptation 
from anything in the world: my danger 
fs from persons. 

O for a heart to praise my God, 
A heart from sin set free !" 

The saintly Fletcher once said of this 
hymn: "Here is undoubtedly an evangel- 
ical prayer for the love which restores the 
soul to a state of sinless rest and scrip- 
tural perfection." A venerable English 
Congregational minister and his wife 
talked much of the Methodist doctrine of 
Christian perfection, but finally agreed 
that if it consisted in the ability to sing 
this hymn with the whole heart, they and 
the Methodists were not far apart. 

Schlipalius, a Dresden preacher of fer- 
vent piety (1745), used to say to his fam- 
ily: "Children, accustom yourselves to 
God's praise, for that will be our chief oc- 

cupation throughout eternity. But we 
must make the beginning here." This 
beautiful thought suggests the two clos- 
ing stanzas of Addison's great thanksgiv- 
ing hymn beginning: "When all thy mer- 
cies, O my God." (See No. 105.) 




LOVE divine, all loves excelling, 
Joy of heaven, to earth come down ; 
Fix in us thy humble dwelling, 

All thy faithful mercies crown : 
Jesus, thou art all compassion, 

Pure, unbounded love thou art ; 
Visit us with thy salvation, 
Enter every trembling heart. 

2 Breathe, O breathe thy loving Spirit 

Into every troubled breast ! 
Let us all in thee inherit, 

Let us find that second rest : 
Take away our bent to sinning; 

Alpha and Omega be ; 
End of faith, as its beginning, 

Set our hearts at liberty. 

3 Come, almighty to deliver, 

Let us all thy grace receive ; 
Suddenly return, and never, 

Never more thy temples leave : 
Thee we would be always blessing, 

Serve thee as thy hosts above, 
Pray, and praise thee without ceasing, 

Glory in thy perfect love. 

4 Finish then thy new creation, 

Pure and spotless let us be ; 
Let us see thy great salvation, 

Perfectly restored in thee : 
Changed from glory into glory, 

Till in heaven we take our place, 
Till we cast our crowns before thee, 

Lost in wonder, love, and praise. 

Charles Wesley. 

From Hymns for Those that Seek and 
Those that Have Redemption in the Blood 
of Jesus Christ, 1747. 

This hymn, one of the most valuable the 
author ever wrote, was evidently intend- 
ed for "those that seek." Changes are 
found in only two lines. In the fifth line 
of the second stanza Wesley wrote: "Take 
away our poiver of sinning." This, liter- 
ally interpreted, would be a prayer to 
take away our free moral agency, which, 
of course, the author did not intend. The 



word "bent" was substituted for "power" 
by Bishops Coke and Asbury when they 
adopted the "York" book as the official 
hymn book of the new Church in America. 
The author also wrote in the second 
line of verse four: "Pure and sinless let 
us be." This was changed to "spotless" 
by John Wesley for his Collection, 1779. 
Just why he made this change does not 
appear, for he taught that "even babes in 
Christ are so far perfect as not to com- 
mit sin." The new Wesleyan Hymn Book, 
London, 1904, omits the second verse of 
this hymn. 

356 C. M. 

LORD, I believe a rest remains 
To all thy people known, 
A rest where pure enjoyment reigns, 
And thou art loved alone : 

2 A rest where all our soul's desire 

Is fixed on things above ; 
Where fear, and sin, and grief expire, 
Cast out by perfect love. 

3 O that I now the rest might know, 

Believe, and enter in ! 
Now, Saviour, now the power bestow, 
And let me cease from sin. 

4 Remove this Hardness from my heart, 

This unbelief remove : 
To me the rest of faith impart, 
The Sabbath of thy love. 

Charles Wesley. 

This is taken from the last hymn in the 
1740 edition of Hymns and Sacred Poems, 
being verses one, two, ten, and eleven. 
The original contains seventeen stanzas. 
It is based on Hebrews iv. 9: "There re- 
maineth therefore a rest to the people of 
God." In the third line of verse two the 
author wrote, "Where doubt and pain and 
fear expire," which John Wesley altered 
to the above form for his Collection of 
1780. In Dr. Osborn's thirteen-volume 
edition of the Poetical Works of J. and 
C. Wesley an asterisk at the end of verse 
five of the original points to the following 
footnote: "Wesley found under the pres- 
sure of controversy (Works, Vol. VI., page 
159, Am. Ed.), if not sooner, that these ex- 

pressions were indefensible, and marked 
verses four and five to be omitted in fu- 
ture editions." The following are the 
verses alluded to: 

4 Our life is hid with Christ in God; 

The agony is o'er ; 
We wrestle not with fiesh and blood, 
We strive with sin no more. 

5 Our spirit is right, our heart is clean, 

Our nature is renewed ; 
We cannot now, we cannot sin, 
For we are born of God. 

It would not be proper to attach dog- 
matic significance to the fact that the 
above hymn, written in 1740, indicates 
that the author believed in the doctrine of 
"instantaneous sanctification" as a second 
work of grace subsequent to regeneration, 
seeing that he later abandoned this view 
and went so far as to write hymns ex- 
pressive of a different conception of Chris- 
tian perfection than that set forth in this 
hymn. Says Thomas Jackson, the biog- 
rapher of Charles Wesley: 

Until this time (1762) it had been under- 
stood that Mr. Charles Wesley agreed with 
his brother on this as well as every other 
doctrine of Christian verity, although he had 
repeatedly used unguarded expressions in 
his hymns which could not be justified. But 
now his views on this subject appear to have 
undergone a change in consequence of the 
extravagance and pride of which he was a 
distressed witness. . . . Hence he con- 
demned "the witnesses," as he called them — 
that is, the persons who testified of the time 
and manner in which they were delivered 
from the root of sin and made perfect in 
love, regarding them as self-deceived. In 
some of his Short Hymns (1762) he has given 
considerable importance to these peculiarities 
of opinion. This change in Mr. Charles Wes- 
ley's manner of speaking on the subject of 
Christian perfection, as might be expected, 
gave considerable uneasiness to his brother, 
who felt it to be undesirable that they should 
even seem to contradict each other in their 
ministry and writings. (See Jackson's Life 
of Charles Wesley, page 595, and Tyerman's 
Life of John Wesley, Volume II., page 442.) 

Methodists from the very beginning 
have believed and taught that Christian 
perfection, rightly defined as the ideal 



Christian experience, is not only a possi- 
bility but the privilege and duty of every 
regenerate child of God. Nevertheless it 
is a well-known fact that differences con- 
cerning this doctrine have been a source 
of embarrassment among Methodists from 
the beginning. But these differences have 
had reference mainly to the manner of at- 
taining it and not to what may be called 
the vital and essential elements of the 
doctrine. John Wesley always believed 
that the experience could be best attained 
instantaneously, and for some time he in- 
sisted upon this as the only mode; but 
during the last several years of his life 
he allowed differences among his follow- 
ers on this point. 

Wesley refers to this hymn in his Plain 
Account of Christian Perfection (1766) 
as follows: 

Can anything be more clear than : ( 1 ) That 
here also is as full and high a salvation as 
we have ever spoken of? (2) That it is 
spoken of as receivable by mere faith, and as 
hindered only by unbelief? (3) That this 
faith, and consequently the salvation which 
it brings, is spoken of as given in an instant? 
(4) That it is supposed that instant may be 
now? that we need not stay another moment? 
that now, the very "now is the accepted time? 
now is the day of" this full salvation. 

The reader may compare and contrast 
John Wesley's insistence upon the neces- 
sary instantaneousness of the experience 
of entire sanctification in his sermon on 
"The Repentance of Believers," written in 
1767, and the marked liberality of his 
views on this point as set forth in his ser- 
mon on "Patience," written in 1784. 

Alas for those Methodists who are so 
much occupied with discussions concern- 
ing the theory and the mode and the time 
of attaining entire sanctification that they 
never seem to attain it by any mode or 
at any time! For humble souls who are 
ceaselessly longing and praying to be 
made perfect in love, and are trying to 
live the perfect life of love, these high- 
pitched hymns of the Wesleys have a holy 
charm, and are as manna to the soul. 


C. M. 

FOREVER here my rest shall be, 
Close to thy bleeding side ; 
This all my hope, and all my plea, 
For me the Saviour died. 

2 My dying Saviour, and my God, 

Fountain for guilt and sin, 
Sprinkle me ever with thy blood, 
And cleanse and keep me clean. 

3 Wash me, and make me thus thine own ; 

Wash me, and mine thou art ; 

Wash me, but not my feet alone, 

My hands, my head, my heart. 

4 The atonement of thy blood apply, 

Till faith to sight improve, 
Till hope in full fruition die, 
And all my soul be love. 

Charles Wesley. 

The original title to this favorite hymn 
is: "Christ Our Righteousness" (1 Cor. 
i. 30.) The first two stanzas, which have 
been omitted, are as follows: 

1 Jesus, Thou art my Righteousness, 

For all my sins were Thine : 
Thy death hath bought of God my peace, 
Thy life hath made Him mine. 

2 Spotless and just, in Thee I am ; 

I feel my sins forgiven ; 
I taste salvation in Thy name, 
And antedate my heaven. 

Two lines have been changed. Verse 
two, line three: 

Sprinkle me ever in Thy blood. 
Verse four, line three: 

Till hope shall in fruition die. 
Salvation, present and eternal through 
the atonement of a divine Saviour, is 
well expressed in this favorite hymn. It 
is taken from Hymns and Sacred Poems, 

358 C. M. 

WHAT is our calling's glorious hope, 
But inward holiness? 
For this to Jesus I look up; 
I calmty wait for this. 

2 I wait till he shall touch me clean, 
Shall life and power impart, 
Give me the faith that casts out sin, 
And purifies the heart. 



3 When Jesus makes my heart his home, 

My Bin shall all depart; 
And, lo ! he saith, "I quickly come, 
To fill and rule thy heart." 

4 Be it according to thy word ; 

Redeem me from all sin ; 
My heart would now receive thee, Lord ; 
Come in, my Lord, come in ! 

Charles Wesley. 

From a hymn of fourteen stanzas in 
Hymns and Sacred Poems, 1742, being the 
ninth, tenth, thirteenth, and fourteenth 
stanzas. It is based on Titus ii. 14: "Who 
gave himself for us, that he might redeem 
us from all iniquity." In verse two, line 
three, the author wrote ''roots out sin," 
and in verse three, line one, "soul" in- 
stead of "heart." 

359 L- M. 

OTHOU, to whose all-searching sight 
The darkness shineth as the light, 
Search, prove my heart, it pants for thee ; 
O burst these bonds, and set it free ! 

2 If in this darksome wild I stray, 
Be thou my Light, be thou my Way : 
No foes, no violence I fear, 

No fraud, while thou, my God, art near. 

3 When rising floods my soul o'erfiow, 
When sinks my heart in waves of woe, 
Jesus, thy timely aid impart, 

And raise my head, and cheer my heart. 

4 Saviour, where'er thy steps I see, 
Dauntless, untired, I follow thee ; 
O let thy hand support me still, 
And lead me to thy holy hill ! 

5 If rough and thorny be the way, 
My strength proportion to my day ; 
Till toil, and grief, and pain shall cease, 
Where all is calm, and joy, and peace. 

Xicolaus L. Zinzendorf. 
Tr. by John Wesley. 

A free translation of a part of Zinzen- 
dorf's German hymn beginning "Seelen- 
Brautigam, du Gottcslamm," except the 
third verse, which was translated from a 
hymn by J. A. Freylinghausen. One fine 
stanza, the second, has been omitted: 

2 Wash out its stains, refine its dross, 
Xail my affections to the cross ; 
Hallow each thought ; let all within 
Be clean, as thou, my Lord, art clean. 

Except the omission of this stanza, and 
"Jesus" for "Jesu" in verse three, line 
three, the text of this hymn is the same 
as that given by John Wesley in his Col- 
lection of Hymns for the Use of the Peo- 
ple Called Methodists. London, 1779. The 
translation first appeared in Psalms and 
Hymns, 1738. 


S. M. 

BLEST are the pure in heart, 
For they shall see our God ; 
The secret of the Lord is theirs ; 
Their soul is Christ's abode. 

2 Still to the lowly soul 

He doth himself impart, 
And for his temple and his throne 
Selects the pure in heart. 

3 Lord, we thy presence seek, 

May ours this blessing be ! 
O give the pure and lowly heart 
A temple meet for thee ! 

John Keble. 

"The Purification" is the author's title 
to the poem of seventeen stanzas from 
which this hymn is taken. It was first 
published in the author's Christian Year, 
1827, but it was written October 10, 1819. 
It is based on Matthew v. 8: "Blessed are 
the pure in heart: for they shall see God." 
Verses one and two are the first and last 
stanzas of the poem. The last stanza was 
written by another hand, and was first ap- 
pended to the verses from Keble by W. J. 
Hall in his Mitre Hymn Book. 1836. 

In verse two, lines three and four, Ke- 
ble wrote: 

And for His cradle and his throne, 
Chooseth the pure in heart. 

This hymn, as Dr. C. S. Robinson has 
said, states with the utmost simplicity 
and brevity the deepest of all spiritual 
truths — namely, that purity of heart is a 
secret of the Lord, and consists in the 
actual indwelling of the divine Christ in 
the human soul, Christ formed in us the 
hope of glory. This fashions our elemen- 
tary notion of excellence in piety. The 
Bible is full of this infinite suggestion of 



a presence of the Saviour in the saint. 
The pure in heart will not only see God 
hereafter in heaven; they see him now 
and here in the earth. Whatever may or 
may not be included in the definition of 
the perfect Christian, this hymn calls .at- 
tention to one thing that must be in him: 
he must be pure in heart. 

361 C. M. 

WALK in the light ! so shalt thou know 
That fellowship of love 
His Spirit only can bestow 
Who reigns in light above. 

2 Walk in the light ! and thou shalt find 

Thy heart made truly his 
Who dwells in cloudless light enshrined, 
In whom no darkness is. 

3 Walk in the light ! and thou shalt own 

Thy darkness passed away, 
Because that light hath on thee shone 
In which is perfect day. 

4 Walk in the light ! and e'en the tomb 

No fearful shade shall wear ; 
Glory shall chase away its gloom, 
For Christ hath conquered there. 

5 Walk in the light ! thy path shall be 

A path, though thorny, bright : 
For God, by grace, shall dwell in thee, 
And God himself is light. 

Bernard Barton. 

Title: "Walking in the Light." It is 
founded on 1 John i. 7: "But if we walk 
in the light, as he is in the light, we have 
fellowship one with another, and the blood 
of Jesus Christ his Son cleanseth us from 
all sin." 

The second stanza of the original is 

2 Walk in the light ! and sin abhorr'd 
Shall ne'er defile again ; 
The blood of Jesus Christ, thy Lord, 
Shall cleanse from every stain. 

One line has been altered — verse five, 
line one: 

Walk in the light ! and thine shalt be. 

From the author's Devotional Verses, 
London, 1826. A useful hymn, meeting a 
real need in our Hymnal. 

S. M. 

COME, and dwell in me, 
Spirit of power within ! 
And bring the glorious liberty 
From sorrow, fear, and sin. 

2 Hasten the joyful day 

Which shall my sins consume ; 
When old things shall be done away, 
And all things new become. 

3 I want the witness, Lord, 

That all I do is right, 
According to thy will and word, 
Well pleasing in thy sight. 

4 I ask no higher state ; 

Indulge me but in this, 
And soon or later then translate 
To my eternal bliss. 

Charles Wesley. 

Title: "Seeking for Full Redemption." 
From Short Hymns on Select Passages of 
the Holy Scriptures, 1762. The first stan- 
za is founded on 2 Corinthians iii. 17: 
"Where the Spirit of the Lord is, there is 
liberty." The second stanza is based upon 
2 Corinthians v. 17: "Old things are 
passed away; behold, all things are be- 
come new." The text of the last two stan- 
zas is Hebrews xi. 5: "Before his transla- 
tion he had this testimony, that he 
pleased God." The second and fourth 
stanzas of the original are omitted with- 
out loss to the hymn. In the third line 
of the third stanza the author wrote 
"mind" instead of "will." 

Rev. William Inglis was a pious and 
useful Wesleyan local preacher. One of 
his valued admonitions was: "When the 
world assaults you, watch and pray; when 
the flesh, flee and pray; when the devil, 
fight and pray." The last public service 
that he conducted was a seven-o'clock 
morning prayer meeting. He gave out 
this hymn and read with special empha- 
sis and impressiveness the third and 
fourth stanzas. That evening, in returning 
to the same chapel, he suddenly fell to the 
ground, and life was extinct. They re- 
called then how solemnly he had read at 
the close of the morning prayer meeting: 



And soon or later then translate 

To my eternal bliss. 

3(>3 C. M. 

OHOW the thought of God attracts 
And draws the heart from earth, 
And sickens it of passing shows 
And dissipating mirth ! 

2 'Tis not enough to save our souls, 

To shun the eternal fires ; 
The thought of God will rouse the heart 
To more sublime desires. 

3 God only is the creature's home, 

Though rough and strait the road ; 
Yet nothing less can satisfy 
The love that longs for God. 

4 O utter but the name of God 

Down in your heart of hearts, 
And see how frcm the world at once 
All tempting light departs ! 

5 A trusting heart, a yearning eye, 

Can win their way above ; 
If mountains can be moved by faith, 
Is there less power in love? 

Frederick W. Faber. 

"Holiness Desired." It 
Jesus and Mary, 1852. 
These are the first five, 

Author's title: 
is found in his 
Eleven stanzas, 

It is not a hymn. It is a pious medita 
tion and very profitable for private wor 

364 C. M. D. 

MY Saviour, on the word of truth 
In earnest hope I live ; 
I ask for all the precious things 

Thy boundless love can give. 
I look for many a lesser light 

About my path to shine ; 
But chiefly long to walk with thee, 
And only trust in thine. 

2 Thou knowest that I am not blest 

As thou wouldst have me be, 
Till all the peace and joy of faith 

Possess my soul in thee ; 
And still I seek, 'mid many fears, 

With yearnings unexpressed, 
The comfort of thy strengthening love, 

Thy soothing, settling rest. 

3 It is not as thou wilt with me, 

Till, humbled in the dust, 
I know no place in all my heart 
Wherein to put my trust : 

Until I find, O Lord, in thee, 

The Lowly and the Meek, 
The fullness which thy own redeemed 

Go nowhere else to seek. 

Anna L. Waring. 

This hymn on "Hope in the Word of 
God" is taken from the author's Hymns 
and Meditations, 1850. It is based on 
Psalm exxx. 5: "I wait for the Lord, my 
soul doth wait, and in his word do I 
hope." The second and fifth stanzas are 

2 In holy expectation held, 

Thy strength my heart shall stay, 
For Thy right hand will never let 

My trust be cast away. 
Yea, Thou hast kept me near Thy feet, 

In many a deadly strife, 
By the stronghold of hope in Thee, 

The hope of endless life. 

5 Then, O my Saviour, on my soul, 

Cast down, but not dismayed, 
Still be Thy chastening, healing hand 

In tender mercy laid. 
And while I wait for all Thy joys, 

My yearning heart to fill, 
Teach me to walk and work with Thee, 

And at Thy feet sit still. 

365 8, 8, 6. D. 

GLORIOUS hope of perfect love ! 
It lifts me up to things above, 
It bears on eagles' wings ; 
It gives my ravished soul a taste, 
And makes me for some moments feast 
With Jesus' priests and kings. 

2 Rejoicing now in earnest hope, 

I stand, and from the mountain top 

See all the land below : 
Rivers of milk and honey rise, 
And all the fruits of paradise 

In endless plenty grow. 

3 A land of corn, and wine, and oil, 
Favored with God's peculiar smile, 

With every blessing blest ; 
There dwells the Lord our righteousness, 
And keeps his own in perfect peace, 

And everlasting rest. 

Charles Wesley. 

Title: "Desiring to Love." From 
Hymns and Sacred Poems, 1742. 

The original has nineteen stanzas, and 
is divided into two parts. This hymn is 



made up of verses four, five, and six of 
the second part. They have not been al- 
tered. It is rich in poetry and in Chris- 
tian faith, one of Charles Wesley's finest 


L. M. 

GIVE me a new, a perfect heart, 
From doubt, and fear, and sorrow free ; 
The mind which was in Christ impart, 
And let my spirit cleave to thee. 

2 O take this heart of stone away ! 

Thy sway it doth not, cannot own ; 
In me no longer let it stay ; 

O take away this heart of stone ! 

3 Cause me to walk in Christ my Way; 

And I thy statutes shall fulfill, 
In every point thy law obey, 
And perfectly perform thy will. 

4 O that I now, from sin released, 

Thy word may to the utmost prove ! 
Enter into the promised rest, 
The Canaan of thy perfect love. 

5 Now let me gain perfection's height ; 

Now let me into nothing fall, 
Be less than nothing in thy sight, 
And feel that Christ is all in all. 

Charles Wesley. 

"Pleading the Promise of Sanctifica- 
tion" is the author's title to this hymn 
in his Hymns and Sacred Poems, 1742. 
The original is based on Ezekiel xxxvi. 
23-31, and has twenty-eight stanzas, the 
above being the eighth, ninth, twelfth, 
fourteenth, and twenty-eighth. The last 
stanza of this hymn is also used as the 
closing stanza of No. 377. The repetition 
of this stanza was doubtless an oversight 
of the Committee compiling the Hymnal. 
Its proper place is at the close of No. 377. 
See notes under Nos. 377 and 378, which 
are parts of the same hymn. See also the 
note under No. 356 for reference to 
Charles Wesley's views of entire sanctifi- 
cation or Christian perfection. Among 
the omitted stanzas is the following: 

Within me thy good Spirit place, 

Spirit of health, and love, and power ; 

Plant in me thy victorious grace, 
And sin shall never enter more. 

367 L. M. 61. 

I THANK thee, uncreated Sun, 
That thy bright beams on me have 
shined ; 
I thank thee, who hast overthrown 

My foes, and healed my wounded mind ; 
I thank thee, whose enlivening voice 
Bids my freed heart in thee rejoice. 

2 Uphold me in the doubtful race, 

Nor suffer me again to stray ; 
Strengthen my feet with steady pace 

Still to press forward in thy way ; 
My soul and flesh, O Lord of might, 
Fill, satiate, with thy heavenly light. 

3 Give to mine eyes refreshing tears ; 

Give to my heart chaste, hallowed fires ; 
Give to my soul, with filial fears, 

The love that all heaven's host inspires ; 
That all my powers, with all their might, 
In thy sole glory may unite. 

4 Thee will I love, my joy, my crown ; 

Thee will I love, my Lord, my God ; 
Thee will I love, beneath thy frown 

Or smile, thy scepter or thy rod ; 
What though my flesh and heart decay? 
Thee shall I love in endless day ! 
Johann A. Scheffter. Tr. by John Wesley. 

Title: "Gratitude for Our Conversion:' 
The German text may be found in the 
Hermhut Collection. The translation is 
from Hymns and Sacred Poems, 1739, and 
consists of seven stanzas; the last four 
are given above unaltered. The first three 
are as follows: 

1 Thee will I love, my strength, my tower ; 

Thee will I love, my joy, my crown ; 
Thee will I love with all my power, 

In all my works, and Thee alone ! 
Thee will I love, till the pure fire 
Fill my whole soul with chaste desire. 

2 Ah ! why did I so late Thee know, 

Thee, lovelier than the sons of men ! 
Ah ! why did I no sooner go 

To Thee, the only ease in pain ! 
Ashamed I sigh, and inly mourn 
That I so late to Thee did turn. 

3 In darkness willingly I strayed ; 

I sought Thee, yet from Thee I roved: 
For wide my wandering thoughts were 
Thy creature more than Thee I loved. 
And now, if more at length I see, 
'Tis through Thy light and comes from 




8, 8, 6. D. 

LOVE divine, how sweet thou art ! 
When shall I find my willing heart 
All taken up by thee? 
I thirst, I faint, I die to prove 
The greatness of redeeming love, 
The love of Christ to me. 

2 Stronger his love than death or hell ; 
Its riches are unsearchable ; 

The firstborn sons of light 
Desire in vain its depths to see ; 
They cannot reach the mystery, 

The length, the breadth, the height. 

3 God only knows the love of God ; 
O that it now were shed abroad 

In this poor stony heart ! 
For love I sigh, for love I pine ; 
This only portion, Lord, be mine ; 

Be mine this better part ! 

4 O that I could forever sit 
With Mary at the Master's feet ! 

Be this my happy choice ; 
My only care, delight, and bliss, 
My joy, my heaven on earth, be this, 

To hear the Bridegroom's voice. 

5 O that I could, with favored John, 
Recline my weary head upon 

The dear Redeemer's breast ! 
From care, and sin, and sorrow free, 
Give me, O Lord, to find in thee 

My everlasting rest ! 

Charles Wesley. 

This truly magnificent hymn on "De- 
siring to Love" is from Hymns and Sa- 
cred Poems, 1749. The author is here in 
his happiest vein: he never sung a sweet- 
er song than this. It is a song, prayer, 
and sermon all in one. As sung to the 
tune of "Ariel," it truly aids devotion. 
Two stanzas are omitted. 

5 O that, with humbled Peter, I 

Could weep, believe, and thrice reply, 

My faithfulness to prove, 
"Thou know'st — for all to thee is known — 
Thou know'st, O Lord, and thou alone, 

Thou know'st that thee I love." 

7 Thy only love do I require, 
Nothing in earth beneath desire, 

Nothing in heaven above : 
Let earth, and heaven, and all things go, 
Give me thy only love to know, 

Give me thy only love. 

This hymn furnishes a fine study in the 

use of strong metaphors and poetic hyper- 
boles. Note, for instance, the three meta- 
phors employed in an ascending scale of 
intensity in the fourth line of the first 
verse: "I thirst, I faint, I die to prove." 
Again in the third verse: "For love I 
sigh, for love I pine." 

The inability of any and every mere 
creature to interpret the love of God, the 
absolute necessity of a divine interpreter 
and revealer of God's noblest name and 
attribute of Love, has never been more 
worthily and beautifully expressed in po- 
etry than in the second and third stanzas 
of this hymn. The allusions to Mary, Pe- 
ter, and John are accomplished in a man- 
ner at once artistic and deeply devotional. 
The poetic meter is well suited to the 
lofty thought which is contained in the 
words. The hymn will long stand as one 
of the noblest odes to divine love that 
was ever written. It makes one think of 
the thirteenth chapter of First Corin- 
thians to read this lyric of "Love Divine." 

Interruptions in the regular order of 
divine service are seldom to be commend- 
ed, but we have an instance before us in 
which it had a happy effect. William 
Dawson, a pious local preacher of Leeds, 
England, once preached a very impressive 
sermon, and at its close gave out this 
hymn. When the choir were singing the 
third verse, "God only knows the love of 
God," he was so moved by the sentiment 
that he stopped them and" said: "Stop, 
friends! If angels, the firstborn sons of 
light, cannot understand the height, the 
breadth, the depth, the length of the love 
of God, how can we expect to fathom it 
while here below?" He then repeated 
with deepest feeling and thrilling effect: 

"God only knows the love of God." 

"Let us sing it again, friends," he said, 
"for we shall all have to sing it in heav- 
en." And sing it again they did most 
heartily. It need hardly be said that a 
profound feeling of majestic awe pervad- 
ed the vast assembly. 




C. M. 


Y God, accept my heart this day, 
And make it always thine ; 

That I from thee no more may stray, 
No more from thee decline. 

2 Before the cross of him who died, 

Behold, I prostrate fall ; 
Let every sin be crucified, 
Let Christ be All in All. 

3 Let every thought, and work, and word, 

To thee be ever given ; 
Then life shall be thy service, Lord, 
And death the gate of heaven. 

Matthew Bridges. 

Author's title: "Confirmation." The 
third and fourth stanzas have been omit- 

3 Anoint me with Thy heavenly grace, 

Adopt me for Thine own, — 
That I may see Thy glorious face, 
And worship at Thy throne. 

4 May the dear blood once shed for me 

My blest atonement prove, — 
That I from first to last may be 
The purchase of Thy love ! 

Unaltered from the author's Hymns of 
the Heart, 1848. 

3 TO C. M. 

I KNOW that my Redeemer lives 
And ever prays for me ; 
A token of his love he gives, 
A pledge of liberty. 

2 I find him lifting up my head ; 

He brings salvation near ; 
His presence makes me free indeed, 
And he will soon appear. 

3 He wills that I should holy be ; 

What can withstand his will? 
The counsel of his grace in me 
He surely shall fulfill. 

4 When God is mine, and I am his, 

Of paradise possessed, 
I taste unutterable bliss, 
And everlasting rest. 

Charles Wesley. 

This is from a hymn of twenty-three 
stanzas on "Rejoicing in Hope" (Rom. xii. 
12), and is found in Hymns and Sacred 
Poems, 1742. This is regarded by some 

as one of Charles Wesley's best hymns. 
It is set in the music edition of the 
Hymnal to a noble tune taken from Han- 
del's "Messiah." 

L C. M. 

JOYFUL sound of gospel grace ! 
Christ shall in me appear ; 
I, even I, shall see his face, 
I shall be holy here. 

2 The glorious crown of righteousness 

To me reached out I view : 
Conqueror through him, I soon shall seize, 
And wear it as my due. 

3 The promised land, from Pisgah's top, 

I now exult to see : 
My hope is full, O glorious hope ! 
Of immortality. 

4 With me, I know, I feel, thou art ; 

But this cannot suffice, 
Unless thou plantest in my heart 
A constant paradise. 

5 Come, O my God, thyself reveal, 

Fill all this mighty void : 

Thou only canst my spirit fill ; 

Come, O my God, my God ! 

Charles Wesley. 

Part of a long hymn of twenty-two 
stanzas entitled: "The Spirit and the 
bride say, Come." (Rev. xxii. 17.) It is 
composed of verses ten, fourteen, fifteen, 
nineteen, and twenty-one. They contain 
the cream of the whole poem. • 

One word has been changed. Wesley 
wrote "blessed hope" in verse three, line 

From Hymns and Sacred Poems, 1742. 

372 L. M. 

APPY the man that finds the grace, 


The blessing of God's chosen race, 
The wisdom coming from above» 
The faith that sweetly works by love 

2 Happy, beyond description, he 

Who knows, "the Saviour died for me !" 
The gift unspeakable obtains, 
And heavenly understanding gains. 

3 Wisdom divine ! who tells the price 
Of wisdom's costly merchandise? 
Wisdom to silver we prefer, 

And gold is dross compared to her. 



4 Her hands are filled with length of days, 
True riches and immortal praise, 
Riches of Christ on all bestowed, 

And honor that descends from God. 

5 Happy the man who wisdom gains ; 
Thrice happy who his guest retains: 

He owns, and shall forever own, 
Wisdom, and Christ, and Heaven, are one. 
Charles Wesley. 

From the author's Redemption Hymns, 
1747. It is a beautiful and useful poetic 
paraphrase of Proverbs iii. 13-18: 

Happy is the man that findeth wisdom, and 
the man that getteth understanding: for the 
merchandise of it is better than the merchan- 
dise of silver, and the gain thereof than fine 
gold. She is more precious than rubies : and 
all the things thou canst desire are not to be 
compared unto her. Length of days is in her 
right hand ; and in her left hand riches and 
honor. Her ways are ways of pleasantness, 
and all her paths are peace. She is a tree 
of life to them that lay hold upon her : and 
happy is every one that retaineth her. 

Four stanzas are omitted: 

4 Better she is than richest mines, 
All earthly treasures she outshines, 
Her value above rubies is, 

And precious pearls are vile to this. 

5 Whate'er thy heart can wish, is poor 
To wisdom's all-sufficient store : 
Pleasure, and fame, and health, and friends, 
She all created good transcends. 

7 To purest joys she all invites, 
Chaste, holy, spiritual delights ! 
Her ways are ways of pleasantness, 
And all her flowery paths are peace. 

8 He finds, who wisdom apprehends, 
A life begun that never ends, 
The tree of life divine she is, 

Set in the midst of paradise. 

373 c. m. 

LET Him to whom we now belong 
His sovereign right assert, 
And take up every thankful song, 
And every loving heart. 

2 He justly claims us for his own, 

Who bought us with a price : 
The Christian lives to Christ alone, 
To Christ alone he dies. 

3 Jesus, thine own at last receive, 

Fulfill our heart's desire: 

And let us to thy glory live, 
And In thy cause expire. 

4 Our souls and bod sign: 

With joy we render thee 
Our all, no longer ours, but thine, 
To all eternity. 

Charles Wesley. 

Entire and unaltered, except the last 
line, which the author wrote: ''Through 
all eternity." 

From Hymns on the Lord's Supper, 
1745. This volume contained one hun- 
dred and sixty-six pieces, and was pref- 
aced by a thesis upon The Christian Sac- 
rament and Sacrifice, by Dr. Brevint, a 
French Protestant. 

Christ said: "Blessed are they which 
do hunger and thirst after righteousness." 
(Matt. v. 6.) The desire expressed in the 
third verse is very intense, and the con- 
secration of the last stanza is as entire 
as language can make it 

37± 7s. 

LOVING Jesus, gentle Lamb, 
In thy gracious hands I am ; 
Make me, Saviour, what thou art ; 
Live thyself within my heart. 

2 Lamb of God, I look to thee, 
Thou shalt my example be ; 
Thou didst live to God alone, 
Thou didst never seek thine own. 

3 I shall then show forth thy praise, 
Serve thee all my happy days ; 
Then the world shall always see 
Christ, the holy Child, in me. 

Charles Wesley. 

This is taken from one of the author's 
group of hymns titled "Hymns for the 
Youngest.'' It was first published in 
Hymns and Sacred Poems, 1742, and was 
republished in the author's collected 
Hymns for Children. 1763. It is a sim- 
ple and beautiful hymn and might be ti- 
tled "Christ the Child's Model — A Prayer 
to Be Like Him." A childhood modeled 
after the ideal set forth in this hymn 
means not less but more of happiness and 
joy in life than can be attained by any- 
walking in the ways of worldly pleasure. 



"I suppose you are going to quit playing 
now that you have become a Christian, 
are you not?" said a wicked companion in 
derision once to a youth who had just 
joined the Church. "No, I am not going 
to quit playing," was the happy response 
of the Christian youth; "but from this 
time on I intend always to play like a 
Christian." For one to become a Chris- 
tian and make Christ his model does not 
mean that he is to give up that which 
makes life sunny and merry and bright; 
but it does mean that he will seek no 
pleasure and engage in no amusement 
into which he cannot consistently carry 
the thought of Christ's presence and ap- 

375 C. M. 

JESUS, thine all-victorious love 
Shed in my heart abroad : 
Then shall my feet no longer rove, 
Rooted and fixed in God. 

2 O that in me the sacred fire 

Might now begin to glow, 
Burn up the dross of base desire 
And make the mountains flow ! 

3 O that it now from heaven might fall, 

And all my sins consume ! 
Come, Holy Ghost, for thee I call ; 
Spirit of burning, come ! 

4 Refining fire, go through my heart ; 

Illuminate my soul ; 
Scatter thy life through every part, 
And sanctify the whole. 

5 No longer then my heart shall mourn, 

While, purified by grace, 
I only for his glory burn, 
And always see his face. 

6 My steadfast soul, from falling free, 

Shall then no longer move, 
While Christ is all the world to me, 
And all my heart is love. 

Charles Wesley. 

Title: "Against Hope, Believing in 

A very popular and vastly useful hymn. 
The original contains twelve stanzas. The 
first verse is as follows: 

My God ! I know, I feel Thee mine, 
And will not quit my claim, 

Till all I have be lost in Thine, 
And all renew'd I am. 

This hymn is made up of verses four, 
seven, eight, nine, eleven, and twelve. 
Changes have been made in two lines of 
the last stanza. Wesley wrote : 

My steadfast soul, from falling free 
Can now no longer move ; 

Jesus is all the world to me, 
And all my heart is love. 

From Hymns and Sacred Poems, 1740. 


C. M. 

FOR a heart of calm repose 
Amid the world's loud roar, 

A life that like a river flows 
Along a peaceful shore ! 

2 Come, Holy Spirit ! still my heart 

With gentleness divine ; 
Indwelling peace thou canst impart ; 
O make that blessing mine ! 

3 Above these scenes of storm and strife 

There spreads a region fair ; 
Give me to live that higher life, 
And breathe that heavenly air. 

4 Come, Holy Spirit ! breathe that peace, 

That victory make me win ; 
Then shall my soul her conflict cease, 
And find a heaven within. 

Author Unknown. 

''For Inward Peace" is the title of this 
prayer-hymn in Hymns of the Ages, third 
series, 1864, where it is published anony- 
mously in the section titled "Quiet." We 
may not know who the author of this 
deeply devotional hymn is, but we know 
what he was. One who aspires and prays 
and sings thus must surely have discov- 
ered what it is to dwell in the secret 
place of the Most High and to abide in 
the shadow of the Almighty. The lofty 
aspiration and deep spirituality pervading 
this hymn call to mind the following 
beautiful lines by John Campbell Shairp 
on "A Life Hid with Christ" which are 
well worth quoting here : 



I have a life with Christ to live, 
But, ere I live it, must I wait 

Till Learning can clear answer give 
Of this and that book's date? 

I have a life in Christ to live, 
I have a death in Christ to die ; 

And must I wait till science give 
All doubts a full reply? 

Nay rather, while the sea of doubt 

Is raging wildly round about, 

Questioning of life and death and sin, 

Let me but creep within 

Thy fold, O Christ, and at thy feet 

Take but the lowest seat, 

And hear thy loving voice repeat 

In gentlest accents, heavenly sweet : 

"Come unto me and rest ; 

Believe Me and be blest." 



L. M. 

OLY, and true, and righteous Lord, 
I wait to prove thy perfect will : 

Be mindful of thy gracious word, 

And stamp me with thy Spirit's seal. 

2 Open my faith's interior eye : 

Display thy glory from above ; 
And all I am shall sink and die, 
Lost in astonishment and love. 

3 Confound, o'erpower me by thy grace ; 

I would be by myself abhorred ; 
All might, all majesty, all praise, 
All glory, be to Christ my Lord. 

4 Now let me gain perfection's height ; 

Now let me into nothing fall, 
As less than nothing in thy sight, 
And feel that Christ is all in all. 

Charles Wesley. 

Part of a poem of twenty-eight stanzas 
entitled "Pleading the Promise of Sancti- 
fication. Nos. 366 and 378 in this book 
are parts of the same lyric. "We have 
above verses twenty-three, twenty-six, 
twenty-seven, and twenty-eight. 

Wesley wrote "with thy grace" in verse 
three, line one, and "Be less than noth- 
ing" in verse four, line three. 

John Wesley published the whole of the 
poem from which this hymn is taken at 
the end of his sermon on "Christian Per- 

From Hymns and Sacred Poems. 1742. 

378 L- M. 

GOD of all power, and truth, and grace, 
Which shall from age to age endure, 
Whose word, when heaven and earth shall 
Remains and stands forever sure. 

2 Calmly to thee my soul looks up, 

And waits thy promises to prove, 
The object of my steadfast hope, 
The seal of thy eternal love. 

3 That I thy mercy may proclaim, 

That all mankind thy truth may see, 
Hallow thy great and glorious name, 
And perfect holiness in me. 

4 Thy sanctifying Spirit pour, 

To quench my thirst, and make me clean ; 
Now, Father, let the gracious shower 
Descend, and make me pure from sin ! 
Charles Wesley. 

"Pleading the Promise of Sanctifica- 
tion" is the title which this hymn bears 
in Hymns and Sacred Poems, 1742. The 
original has twenty-eight stanzas, the 
first, second, third, and sixth being used 
to make this hymn. The hymn is based 
on Ezekiel xxxvi. 23: "And I will sancti- 
fy my great name, which w r as profaned 
among the heathen, which ye have pro- 
faned in the midst of them; and the hea- 
then shall know that I am the Lord, saith 
the Lord God, when I shall be sanctified 
in you before their eyes." Nos. 366 and 
3.77 are also parts of the same hymn. 

This entire hymn is quoted by John 
Wesley at the end of his sermon on "Chris- 
tian Perfection," and by John Fletcher at 
the end of his last Check to Antinomian- 
ism." This indicates the high esteem in 
which the hymn was held by these two fa- 
thers of Methodism. 

379 L. m. 

COME, Saviour, Jesus, from above ! 
Assist me with thy heavenly grace ; 
Empty my heart of earthly love, 
And for thyself prepare the place. 

2 O let thy sacred presence fill, 

And set my longing spirit free ! 
"vVhich pants to have no other will, 
But day and night to feast on thee. 



3 While in this region here below, 

No other good will I pursue : 
I'll bid this world of noise and show, 
With all its glittering snares, adieu ! 

4 That path with humble speed I'll seek, 

In which my Saviour's footsteps shine ; 
Nor will I hear, nor will I speak, 
Of any other love but thine. 

5 Henceforth may no profane delight 

Divide this consecrated soul ; 
Possess it, thou who hast the right, 
As Lord and Master of the whole. 
Antoinette Bourignon. 
Tr. by John Wesley. 

The title of this hymn as given by the 
Wesleys is: "Renouncing All for Christ:' 
In Byrom's Poems it is: *'A Hymn to Je- 

Notice that this hymn prays for the 
abiding presence of Christ, for an entire 
surrender of the will, for a supreme and 
unchanging love, and, in the last stanza, 
that this consecration may become ir- 
reversible. It is yery fine. 

The translation (ten stanzas) is found 
in Hymns and Sacred Poems, 1739, and in 
Miscellaneous Poems, by John Byrom, 
1773. Hymnologists are not agreed wheth- 
er it was translated by John Wesley or by 
John Byrom. The first edition of Hymn 
Studies gave it to Byrom. The Hymnal 
says: "Translated by John Wesley." We 
know of no evidence that is absolutely 
conclusive, but still incline to Byrom for 
the following reasons: 

First, Wesley never claimed that he was 
the translator. 

Second, no one of his contemporaneous 
friends claimed it for him. 

Third, Byrom's friends claim it for him, 
knowing that it had been previously print- 
ed by Wesley. 

Fourth, the editor of Byrom's Poems 
said that he published it from Byrom's 

Dr. John Julian in his Dictionary of 
Hymnology comes to the same conclusion 
from certain letters that he quotes. 

Dr. Telford, the latest Wesleyan author- 

ity in hymnology, on the contrary, in his 
Methodist Hymn Book Illustrated gives 
the benefit of the doubt to John Wesley 
with the following statements: 

After the volume of Hymns and Sacred 
Poems containing this hymn had been pub- 
lished by the Wesleys, Byrom wrote to his 
son April 2 6, 1739 : "They have together print- 
ed a book of hymns, amongst which they have 
inserted two of Madam Bourignor.'s, one of 
which they call a 'Farewell to the World,' 
and the other 'Renouncing All for Christ,' I 
think translated from the French. They have 
introduced them by a preface against what 
they call mystic writers (not naming any par- 
ticular author), for whom they say that they 
had once a great veneration, but think them- 
selves obliged very solemnly to acknowledge 
their error and to guard others against the 
like, which they do by certain reasons that I 
do not see the reason of." Byrom differed 
from the brothers as to Mr. Law and the 
mystics. His words make it probable that the 
translation was Wesley's. . . . His letter to his 
son does not read like that of a man who ia 
referring to his own translations. 


8, 7, 8, 8, 7. 

THE bitter shame and sorrow, 

That a time could ever be 
When I let the Saviour's pity 
Plead in vain, and proudly answered, 

All of self, and none of thee ! 

2 Yet he found me ; I beheld him 

Bleeding on the accursed tree, 
Heard him pray, Forgive them, Father ! 
And my wistful heart said faintly, 

Some of self, and some of thee ! 

3 Day by day his tender mercy, 

Healing, helping, full and free, 
Sweet and strong, and ah ! so patient, 
Brought me lower, while I whispered, 

Less of self, and more of thee ! 

4 Higher than the highest heaven, 

Deeper than the deepest sea, 
Lord, thy love at last has conquered ; 
Grant me now my supplication — 

None of self, and all of thee ! 

Theodore Monod. 

This hymn by Dr. Monod, of Paris, was 
written by him in English during a se- 
ries of "consecration" meetings held at 
Broadlands, England, in July, 1874. It 
was given by the author at the close of 



the meetings to Lord Mount-Temple, who 
printed it on the back of a program card 
for another series of similar meetings 
held at Oxford in October of that same 

This is one of the most valuable and 
helpful hymns for private devotional 
study in the entire range of hymnology. 
It describes in a remarkably vivid and im- 
pressive manner the transforming power 
which a contemplation of the atoning 
work of Christ has in leading a selfish 
and sinful soul from utter indifference 
and ingratitude to entire consecration and 
to a grateful recognition of God's good- 
ness and love as revealed in Christ. 

The key to the interpretation of the 
hymn is found in the last lines of the 
successive stanzas. "All of self, and none 
of thee," the last line of the first stanza, 
is the language of a selfish and sinful soul 
utterly indifferent to the claims of the 
gospel. "Some of self, and some of thee," 
as found at the end of the second stan- 
za, expresses the beginnings of spiritual 
awakening and the stirring of conscience 
in the soul. "Less of self, and more of 
thee" is the healthful and hopeful cry of 
a truly awakened and genuinely penitent 
soul. "None of self, and all of thee," at 
the end of the last verse, marks the cli- 
max of absolute self-surrender and per- 
fect consecration, and is the language of 
the believing and loving soul that now no 
longer seeks its own, but the glory of 
Christ. This is a hymn the serious study 
of which cannot fail to deepen one's de- 
sire to be rid of all selfishness and ingrati- 
tude and to have the mind and heart of 

381 L. M. 

OTHAT my load of sin were gone ! 
O that I could at last submit 
At Jesus' feet to lay it down, 
To lay my soul at Jesus' feet ! 

2 Rest for my soul I long to find : 
Saviour of all, if mine thou art. 
Give me thy meek and lowly mind. 
And stamp thine image on my heart. 

3 Break off the yoke of inbred sin. 

And fully set my spirit free: 

1 cannot rest till pure within, 
Till I am wholly lost in thee. 

4 Fain would I learn of thee, my God ; 

Thy light and easy burden prove, 
The cross, all stained with hallowed blood, 
The labor of thy dying love. 

5 I would, but thou must give the power; 

My heart from every sin release; 
Bring near, bring near the joyful hour, 
And fill me with thy perfect peace. 

Charles Wesley. 

Text: "Come unto me, all ye that labor 
and are heavy-laden, and I will give you 
rest." (Matt. xi. 28.) 

Fourteen stanzas in all. These are verses 
one, four, five, six, and eight verbatim. 

From Hymns and Sacred Poems, 1742. 

382 S. M. D. 

SOLDIERS of Christ, arise, 
And put your armor on, 
Strong in the strength which God supplies 

Through his eternal Son ; 

Strong in the Lord of hosts, 

And in his mighty power, 

Who in the strength of Jesus trusts 

Is more than conqueror. 

2 Stand, then, in his great might, 

With all his strength endued ; 
But take, to arm you for the fight, 

The panoply of God : 
That, having all things done, 

And all your conflicts passed, 
Te may o'ercome through Christ alone, 

And stand entire at last. 

3 From strength to strength go on, 

Wrestle, and fight, and pray ; 
Tread all the powers of darkness down, 

And win the well-fought day : 
Still let the Spirit cry, 

In all his soldiers, "Come," 
Till Christ the Lord descend from high, 
And take the conquerors home. 

Charles Wesley. 
"The Whole Armor of God'' is the orig- 
inal title of this in Hymns and Sacred 
Poems, 1749. It is based upon Ephesians 
vi. 11: "Put on the whole armor of God. 
that ye may be able to stand against the 
wiles of the devil." The entire poem con- 
tains sixteen double stanzas, of which the 
above are the first, second, and sixteenth. 



Among all the hymns setting forth the 
Christian life under the figure of a war- 
fare, none is more effective and impressive 
than this. "As inspiring as the blast of 
the bugle," is Mr. Stead's comment on 
this stirring hymn. 

383 6s, 5s. D. 

X WARD, Christian soldiers ! 

Marching as to war, 
With the cross of Jesus 

Going on before. 
Christ, the royal Master, 

Leads against the foe ; 
Forward into battle, 

See, his banners go ! 

Onward, Christian soldiers, 

Marching as to war, 
With the cross of Jesus 

Going on before. 

2 At the sign of triumph 
Satan's host doth flee ; 

On, then, Christian soldiers, 

On to victory ! 
Hell's foundations quiver 

At the shout of praise ; 
Brothers, lift your voices, 

Loud your anthems raise. 

3 Like a mighty army 
Moves the church of God ; 

Brothers, we are treading 
Where the saints have trod ; 

We are not divided, 
All one body we, 

One in hope and doctrine, 
One in charity. 

4 Crowns and thrones may perish, 
Kingdoms rise and wane, 

But the church of Jesus 
Constant will remain ; 

Gates of hell can never 

'Gainst that church prevail ; 

We have Christ's own promise, 
And that cannot fail. 

5 Onward, then, ye people ! 
Join our happy throng, 

Blend with ours your voices 

In the triumph-song; 
Glory, laud, and honor 

Unto Christ the King, 
This through countless ages 

Men and angels sing. 

Sabine Baring-Gould. 

This very widely used and popular 
hymn was written in 1865 and published 
the same year in the Church Times. 
When first printed it contained six stan- 
zas. The fourth has been omitted: 

What the saints established, 

That I hold for true ; 
What the saints believed, 

That believe I too. 
Long as earth endurcth 

Men that faith will hold, 
Kingdoms, nations, empires 

In destruction rolled. 

In 1895 the author gave the following 
account of the origin of the hymn: 

Whitmonday is a great day for school fes- 
tivals in Yorkshire. One Whitmonday, thirty 
years ago, it was arranged that our school 
should join forces with a neighboring village. 
I wanted the children to sing when marching 
from one village to another, but couldn't 
think of anything quite suitable ; so I sat up 
at night, resolved that I would write some- 
thing myself. "Onward, Christian soldiers," 
was the result. It was written in great 
haste, and I am afraid some of the rhymes 
are faulty. Certainly nothing has surprised 
me more than its popularity. 

384 6s, 5s. 121. 

FORWARD ! be our watchword, 
Steps and voices joined ; 
Seek the things before us, 

Not a look behind ; 
Burns the fiery pillar 

At our army's head ; 
Who shall dream of shrinking, 

By our Captain led? 
Forward through the desert, 

Through the toil and fight : 
Jordan flows before us, 

Zion beams with light ! 

2 Forward ! flock of Jesus, 

Salt of all the earth, 
Till each yearning purpose 

Spring to glorious birth : 
Sick, they ask for healing ; 

Blind, they grope for day ; 
Pour upon the nations 

Wisdom's loving ray. 
Forward, out of error, 

Leave behind the night ; 
Forward through the darkness, 

Forward into light ! 



I< »ri< b upon ?-rl<^i i- a 
Hath our God prep u 
By the souls that love him 
One day to be shai 

Eye hath not beheld them, 

Ear hath never heard ; 
N r • : :.• Be hath atten d 

Thought or speech a word : 
Forward, marching eastward, 

Where the heaven is bright, 
Till the veil be lifted, 

Till our faith be sight! 

4 Far o'er yon horizon 

Rise the city towers, 
Where our God abideth ; 

That fair home is ours : 
Flash the streets with jasper, 

Shine the gates with gold ; 
Flows the gladdening river 

Shedding joys untold ; 
Thither, onward thither, 

In the Spirit's might : 
Pilgrims to your country, 

Forward into light ! 

Henri/ Alford. 

This is one of the few really popular 
hymns ever written by a great scholar. 
It is based on Exodus xiv. 15: "Speak 
unto the children of Israel, that they go 
forward." The original contains eight 
stanzas, the above being the first, third, 
fourth, and fifth. It was written to be 
sung at the tenth festival of parochial 
choirs of the Canterbury Diocesan Union. 
June 6, 1S71; but the author had joined 
the "choir invisible" before that date ar- 
rived. The occasion of the hymn being 
written is thus described: 

The Rev. J. G. Wood asked Dean Alford to 
write a processional hymn for a Church fes- 
tival, and set it to music. The Dean's first 
attempt did not seem to Mr. Wood well adapt- 
ed to be sung on the march, and he begged 
the Dean to go into his cathedral and com- 
pose another hymn as he walked slowly 
round. He did this, and '"Forward ! be our 
watchword" was the result. It came to Mr. 
Wood with a little note saying that the Dean 
had put it into its hat and boots, and Mr. 
"Wood might add coat and trousers himself. 
He had written treble and bass : Mrs. Wor- 
thington Bliss supplied the alto and tenor. 
The effect of the hymn when first sung by a 
thousand choristers was overwhelming. 

When Dean Alford was only sixteen 
years of age he wrote in his Bible the fol- 
lowing dedication of himself to God and 
to his service: "I do this day, in the pres- 
ence of God and my own soul, renew my 
covenant with God and solemnly deter- 
mine henceforth to become his and to do 
his work as far as in me lies." It is not 
surprising that one who so early in life 
dedicated himself to God should write a 
hymn which has been greatly blessed in 
quickening the fidelity to Christ and the 
zeal of thousands of young Christians all 
over the world, multitudes of whom have 
been deeply moved and inspired by the 
singing of this hymn. 

385 7, 7, 7, 6. D. 

SOLDIERS of the cross, arise! 
Lo ! your Leader from the skies 
Waves before you glory's prize, 

The prize of victory. 
Seize your armor, gird it on ; 
Now the battle will be won ; 
See, the strife will soon be done ; 
Then struggle manfully. 

2 Jesus conquered when he fell, 

Met and vanquished earth and hell : 
Now he leads you on to swell 

The triumphs of his cross. 
Though all earth and hell appear, 
Who will doubt, or who can fear? 
God, our strength and shield, is near : 

We cannot lose our cause. 

3 Onward, then, ye hosts of God ! 
Jesus points the victor's rod : 
Follow where your Leader trod ; 

You soon shall see his face. 
Soon, your enemies all slain, 
Crowns of glory you shall gain, 
Soon you'll join that glorious train 
Who shout their Saviour's praise. 
Jarcd B. Waterbury. 
Title: "Soldiers of the Cross." 
Written for and published in The Chris- 
tian Lyre, a small tune book edited by 
Joshua Leavitt. New York, 1830. 

In the first stanza, lines six and seven, 
the author wrote: 

The battle's yours, it will be won: 
Though fierce the strife, 'twill soon be 
And in the last stanza: 



The crown of glory you shall gain ; 
And walk among that glorious train. 

The changes made in these lines are 
doubtless improvements. 


7s, 6s. D. 

STAND up, stand up for Jesus ! 
Ye soldiers of the cross ; 
Lift high his royal banner, 

It must not suffer loss : 

From victory unto victory 

His army shall he lead, 

Till every foe is vanquished 

And Christ is Lord indeed. 

2 Stand up, stand up for Jesus ! 

The trumpet call obey ; 
Forth to the mighty conflict, 

In this his glorious day : 
Ye that are men, now serve him, 

Against unnumbered foes ; 
Your courage rise with danger, 

And strength to strength oppose. 

3 Stand up, stand up for Jesus ! 

Stand in his strength alone ; 
The arm of flesh will fail you ; 

Ye dare not trust your own : 
Put on the gospel armor, 

Each piece put on with prayer ; 
Where duty calls, or danger, 

Be never wanting there. 

4 Stand up, stand up for Jesus ! 

The strife will not be long ; 
This day the noise of battle, 

The next the victor's song: 
To him that overcometh, 

A crown of life shall be ; 
He with the King of glory 

Shall reign eternally. 

George Dufpeld, Jr. 

This hymn was written in 1858 on the 
occasion of the death of an intimate 
friend of the author, Rev. Dudley A. Tyng 
(son of Rev. Stephen H. Tyng, D.D.), a 
most gifted and consecrated young minis- 
ter of Philadelphia, who took an active 
part in the great revival in that city in 
1857. The following year he met his 
death by a painful accident (his arm was 
caught in a cogwheel and torn out). Be- 
ing asked, when at death's door, if he had 
any message to send to the Young Men's 
Christian Association (with whose mem- 

bers he had worked in the revival), he re- 
plied, "Tell them to stand up for Jesus. 
Now let us sing a hymn." He soon after- 
wards died. 

The Sunday following Dr. Dufneld 
preached on the text: "Stand therefore, 
having your loins girt about with truth, 
and having on the breastplate of right- 
eousness" (Eph. vi. 14), and read these 
verses as a concluding exhortation. The 
superintendent of the Sabbath school had 
them printed as a leaflet for the children. 
They were soon afterwards published in a 
Baptist newspaper, and "from that paper 
they have gone in English and in Ger- 
man and Latin translations all over the 
world." Missionaries have translated the 
hymn into heathen tongues. It finds a 
place in all modern hymn books. 

The Sunday before young Tyng's death 
he had preached a sermon, marked with 
unction and power, to an audience of five 
thousand people on Exodus x. 11: "Go 
now ye that are men, and serve the Lord." 
To this allusion is made in the second 
stanza above. Two stanzas are omitted: 

2 Stand up ! — stand up for Jesus ! 

The solemn watchword hear : 
If while ye sleep he suffers, 

Away with shame and fear ; 
Where'er ye meet with evil, 

Within you or without, 
Charge for the God of Battles, 

And put the foe to rout ! 

5 Stand up ! — stand up for Jesus ! 

Each soldier to his post ; 
Close up the broken column, 

And shout through all the host ! 
Make good the loss so heavy, 

In those that still remain, 
And prove to all around you 

That death itself is gain. 

387 7s, 6s. D. 

GO forward, Christian soldier, 
Beneath his banner true : 
The Lord himself, thy Leader, 

Shall all thy foes subdue. 
His love foretells thy trials ; 

He knows thine hourly need ; 
He can, with bread of heaven, 
Thy fainting spirit feed. 



2 Go forward, Christian soldier, 

Pear not the secret foe ; 

Far more are o'er thee watching 
Thai! human eyes can know. 

Trust only Christ, thy Captain, 
Cease not to watch and pray ; 

Heed not the treacherous voices 
That lure thy soul astray. 

3 Go forward, Christian soldier, 

Nor dream of peaceful rest, 
Till Satan's host is vanquished, 

And heaven is all possessed ; 
Till Christ himself shall call thee 

To lay thine armor by, 
And wear, in endless glory, 

The crown of victory. 

Laurence Tuttiett. 

Based upon Exodus xiv. 15: "Speak 
unto the children of Israel, that they go 

Published in England in 1861, it has 
come into wide use both in Great Britain 
and America. There is one .additional 

4 Go forward, Christian soldier, 

Fear not the gathering night : 
The Lord has been thy shelter, 

The Lord will be thy light : . 
When morn his face revealeth, 

Thy dangers all are passed : 
Oh pray that faith and virtue 

May keep thee to the last. 

388 s. M. 

A CHARGE to keep I have, 
A God to glorify, 
A never-dying soul to save, 
And fit it for the sky. 

2 To serve the present age, 

My calling to fulfill ; 
O may it all my powers engage, 
To do my Master's will ! 

3 Arm me with jealous care, 

As in thy sight to live, 
And O, thy servant, Lord, prepare, 
A strict account to give ! 

4 Help me to watch and pray, 

And on thyself rely, 
Assured, if I my trust betray, 
I shall forever die. 

Charles Wesley. 

This is one of the most frequently sung 
hymns in the language. It is short, in- 

tensely practical, and seems always appro- 
priate. It is found in the author's Short 
Scripture Hymns, 1762, and is based on 
Leviticus viii. 35: "Keep the charge of 
the Lord, that ye die not." 

A distinguished minister of England, 
Rev. Thomas Richardson, the founder 
of the Bible and Prayer Union, remarked 
to Mr. Stead in 1885 that this hymn had 
been the creed of his Christian life and 
the inspiration of his active work for the 
past thirty-four years. "The genius of 
Methodism is almost embodied in these 
lines," says Telford. "The older I grow," 
said Thomas Carlyle in his old age, "and 
now I stand upon the brink of eternity, 
the more comes back to me the sentence 
in the catechism which I learned when a 
child, and the fuller and deeper its mean- 
ing becomes: 'What is the chief end of 
man? To glorify God and enjoy him for- 
ever.' " 

The serious view of life that underlies 
this hymn is one of its most notable 
characteristics. The present life is rep- 
resented in this hymn as being a proba- 
tion for the life to come. Very few of the 
modern hymns on Christian service strike 
so serious a note as this. Such hymns 
are needed; they invest this life with a 
reality and far-reaching significance born 
of profound faith in the reality of the di- 
vine revelation concerning the life that is 
to come. Many regard this as the greatest 
of Charles Wesley's short hymns. 

389 S. M. 

SOW in the morn thy seed ; 
At eve hold not thy hand ; 
To doubt and fear give thou no heed, 
Broadcast it o'er the land. 

2 Thou knowest not which shall thrive, 

The late or early sown ; 
Grace keeps the precious germ alive, 
When and wherever strown : 

3 And duly shall appear, 

In verdure, beauty, strength, 
The tender blade, the stalk, the ear, 
And the full corn at length. 



4 Thou canst not toil in vain : 

Cold, heat, and moist, and dry, 
Shall foster and mature the grain 
For garners in the sky. 

5 Thence, when the glorious end, 

The day of God, shall come, 
The angel reapers shall descend, 

And heaven shout, "Harvest-home !" 
James Montgomery. 

Author's title: "The Field of the 
World:'' It is based upon Ecclesiastes xi. 
6: "In the morning sow thy seed, and in 
the evening withhold not thine hand: for 
thou knowest not whether shall prosper, 
either this or that, or whether they both 
shall be alike good." 

The second and third stanzas of the 
original are omitted: 

2 Beside all waters sow, 

The highway furrows stock, 
Drop it where thorns and thistles grow, 
Scatter it on the rock. 

3 The good, the fruitful ground, 

Expect not here nor there, 
O'er hill and dale, by plots 'tis found ; 
Go forth, then, every where. 

Prom A Poet's Portfolio; or, Minor 
Poems in Three Books, by James Mont- 
gomery, 1835. 

390 S. M. 

MAKE haste, O man, to live, 
For thou so soon must die ; 
Time hurries past thee like the breeze ; 
How swift its moments fly ! 

2 Make haste, O man, to do 

Whatever must be done ; 
Thou hast no time to lose in sloth, 
Thy day will soon be gone. 

3 Up, then, with speed, and work ; 

Fling ease and self away ; 
This is no time for thee to sleep ; 
Up, watch, and work, and pray ! 

4 Make haste, O man, to live, 

Thy time is almost o'er ; 
O sleep not, dream not, but arise, 
The Judge is at the door ! 

Horatius Bonar. 

This is taken from the first series of 
the author's Hymns of Faith and Hope, 

1857, where it bears the title, "Live," and 
each stanza closes with the refrain: 
"Make haste, O man, to live." We give 
three omitted stanzas: 

2 To breathe, and wake, and sleep, 
To smile, to sigh, to grieve ; 
To move in idleness through earth, 
This, this is not to live ! 

Make haste, O man, to live ! 

5 The useful, not the great, 

The thing that never dies, 
The silent toil that is not lost, — 
Set these before thine eyes. 

Make haste, O man, to live ! 

6 The seed, whose leaf and flower, 

Though poor in human sight, 
Bring forth at last the eternal fruit, 
Sow thou by day and night. 

Make haste, O man, to live ! 

391 S. M 

I THE good fight have fought," 
O when shall I declare? 
The victory by my Saviour got, 
I long with Paul to share. 

2 O may I triumph so, 

When all my warfare's past ; 
And, dying, find my latest foe 
Under my feet at last ! 

3 This blessed word be mine, 

Just as the port is gained, 
"Kept by the power of grace divine, 
I have the faith maintained." 

4 The apostles of my Lord, 

To whom it first was given, 
They could not speak a greater word, 
Nor all the saints in heaven. 

Charles Wesley. 

Prom Short Hymns on Select Passages 
of the Holy Scriptures, 1762. The first 
two stanzas were written upon the words 
(2 Tim. iv. 7), "I have fought a good 
fight," and the last two upon the words: 
"I have kept the faith." 

The second stanza is a sublime prayer 
worthy of the writer. It has not been al- 

392 c. M. 

WORKMAN of God ! O lose not heart, 
But learn what God is like ; 
And in the darkest battlefield 
Thou shalt know where to strike. 



2 Thrice blest is he to whom is given 

The instinct that can tell 
That God is on tin- field, when He 
Is most invisible. 

3 Blest too is he who can divine 

Where real right doth lie, 
And dares to take the side that seems 
Wrong to man's blindfold eye. 

4 Then learn to scorn the praise of men, 

And learn to lose with God ; 
For Jesus won the world through shame, 
And beckons thee his road. 

Frederick W. Faber. 

This is taken from a poem of eighteen 
stanzas found in the author's Hymns, 
1862, and titled, ''The Right Must Win," 
being verses ten to thirteen. The hymn 
beginning, "0 it is hard to work for God" 
(No. 442), is taken from the same poem. 
In the original it is "Workmen of God" 
instead of "Workman," as in the first line 
above. It puts iron in the blood and cour- 
age in the soul to read and sing a hymn 
like this. It is a hymn for preachers and 
Christian workers to read on "blue Mon- 
days" and "black Fridays" when they are 
depressed and disheartened. They begin 
the fight anew after reading and singing 
this hymn. 

393 C. M. 

AM I a soldier of the cross, 
A follower of the Lamb, 
And shall I fear to own his cause, 
Or blush to speak his name? 

2 Must I be carried to the skies 

On flowery beds of ease, 
While others fought to win the prize, 
And sailed through bloody seas? 

3 Are there no foes for me to face? 

Must I not stem the flood? 
Is this vile world a friend to grace, 
To help me on to God? 

4 Sure I must fight, if I would reign ; 

Increase my courage, Lord ; 
I'll bear the toil, endure the pain, 
Supported by thy word. 

5 Thy saints in all this glorious war 

Shall conquer, though they die : 
They see the triumph from afar, 
By faith they bring it nigh. 

G When that illustrious day shall rise, 
And all thy armies shine 
In robes of victory through the skies, 
The glory shall be thine. 

Isaac Watts. 

This grand and favorite hymn was first 
published by the author at the end of a 
sermon entitled, ''Holy Fortitude; or, 
Remedies Against Fear." The text was: 
"Stand fast in the faith, quit you like 
men, be strong." (1 Cor. xvi. 13.) 

Watts wrote the last part of the fifth 

They see the triumph from afar, 
And seize it with their eye. 

The change is a great improvement, 
whoever made it. Bishop Emory added 
this hymn to the Methodist Hymn Book 
when he was Book Agent and Editor at 
New York (1824-1832). 

This is a sublime and profitable medita- 
tion. It brings out clearly the thought 
of conflict and the necessity of bravely 
contending for the Christian faith and 


C. M. 

BEHOLD us, Lord, a little space 
From daily tasks set free, 
And met within thy holy place 
To rest awhile with thee. 

2 Around us rolls the ceaseless tide 

Of business, toil, and care, 
And scarcely can w r e turn aside 
For one brief hour of prayer. 

3 Yet these are not the only walls 

Wherein thou mayst be sought ; 

On homeliest work thy blessing falls 

In truth and patience wrought. 

4 Thine is the loom, the forge, the mart, 

The wealth of land and sea ; 

The worlds of science and of art, 

Revealed and ruled by thee. 

5 Then let us prove our heavenly birth 

In all we do and know. 
And claim the kingdom of the earth 
For thee, and not thy foe. 

6 Work shall be prayer, if all be wrought 

As thou wouldst have it done ; 
And prayer, by thee inspired and taught, 
Itself with work be one. 

John EUerton. 



"'Mid-day: for a City Church" is the au- 
thor's title to this hymn, which was writ- 
ten in 1870 for a midday service in a city 
church. It was first published in 1871 in 
Church Hymns. 

The author of this most useful hymn 
on Christian service has written another, 
for use at the burial of Christian workers, 
that is greatly admired and well worth 
quoting. We regret that it has not a place 
in our Hymnal. 

Now the laborer's task is o'er ; 

Now the battle day is past ; 
Now upon the farther shore 

Lands the voyager at last. 
Father, in thy gracious keeping 
Leave we now thy servant sleeping. 

There the tears of earth are dried ; 

There its hidden things are clear ; 
There the work of life is tried 

By a juster Judge than here. 
Father, in thy gracious keeping 
Leave we now thy servant sleeping. 

"Earth to earth and dust to dust," 
Calmly now the words we say, 

Left behind, we wait in trust 
For the resurrection day. 

Father, in thy gracious keeping 

Leave we now thy servant sleeping. 


C. M. 

STILL in accents sweet and strong 

Sounds forth the ancient word, 
'More reapers for white harvest fields, 
More laborers for the Lord !" 

2 "We hear the call ; in dreams no more 

In selfish ease we lie, 
But girded for our Father's work, 
Go forth beneath his sky. 

3 Where prophets' word, and martyrs' blood, 

And prayers of saints were sown, 
We, to their labors entering in, 

Would reap where they have strown. 

4 O Thou whose call our hearts has stirred, 

To do thy will we come ; 
Thrust in our sickles at thy word, 
And bear our harvest home. 

Samuel Longfellow. 

Title: "Behold the Fields Are White." 
Unaltered and entire as contributed to 
Hymns of the Spirit, which the author of 

this hymn compiled in connection with 
the Rev. Samuel Johnson, Boston, 1864. 


C. M. 

AWAKE, my soul, stretch every nerve, 
And press with vigor on ; 
A heavenly race demands thy zeal, 
And an immortal crown. 

2 A cloud of witnesses around 

Hold thee in full survey ; 
Forget the steps already trod, 
And onward urge thy way. 

3 'Tis God's all-animating voice 

That calls thee from on high ; 
'Tis his own hand presents the prize 
To thine aspiring eye : 

4 That prize, with peerless glories bright, 

Which shall new luster boast, 
When victors' wreaths and monarchs' gems 
Shall blend in common dust. 

5 Blest Saviour, introduced by thee, 

Have I my race begun ; 
And, crowned with victory, at thy feet, 
I'll lay my honors down. 

Philip Doddridge. 

The original title of this in the author's 
Hymns, 1755, is: "Pressing on in the 
Christian Race" It is based upon Philip- 
pians iii. 12-14: 

Not as though I had already attained, 
either were already perfect : but I follow aft- 
er, if that I may apprehend that for which 
also I am apprehended of Christ Jesus. Breth- 
ren, I count not myself to have apprehended : 
but this one thing I do, forgetting those things 
which are behind, and reaching forth unto 
those things which are before, I press toward 
the mark for the prize of the high calling of 
God in Christ Jesus. 

This is perhaps the most familiar and 
the most stirring of all Dr. Doddridge's 
hymns. Dr. C. S. Robinson describes it 
as "ringing like a trumpeter's note to 
start the athletes." It is almost impossi- 
ble to sing this hymn and not have stirred 
within the heart deep and uplifting emo- 
tions that make one resolve to go forth 
and do his best in the "heavenly race." 



L. M. 

BKIIOLD! the Christian warrior stand 
In all the armor of his God; 
The Spirit's sword is in his hand, 
His feet are with the gospel shod; 

2 In panoply of truth complete, 

Salvation's helmet on his head ; 
With righteousness a breastplate meet, 
And faith's broad shield before him spread. 

3 Undaunted to the field he goes ; 

Yet vain were skill and valor there, 
Unless, to foil his legion foes, 

He takes the trustiest weapon, prayer. 

4 Thus, strong in his Redeemer's strength, 

Sin, death, and hell, he tramples down ; 
Fights the good fight, and wins at length, 
Through mercy, an immortal crown. 

James Montgomery. 

Title: "The Christian Soldier." (Eph. 
vi. 10-18.) 

Two lines have been altered. The first 

The Christian warrior — see him stand. 
The last line of the third stanza was: 

The trustiest weapon were "all prayer." 

The third, fourth, and sixth stanzas 
have been omitted: 

3 He wrestles not with flesh and blood, 

But principalities and powers, 
Rulers of darkness, like a flood, 
Nigh, and assailing at all hours. 

4 Nor Satan's fiery darts alone, 

Quenched on his shield, at him are hurled ; 
The traitor in his heart is known, 

And the dire friendship of this world. 

6 With this omnipotence he moves, 
From this the alien armies flee, 
Till, more than conqueror, he proves, 
Through Christ, who gives him victory. 

Prom the Christian Psalmist, 1825. 

398 L. M. 

IT may not be our lot to yield 
The sickle in the ripened field ; 
Nor ours to hear, on summer eves, 
The reaper's song among the sheaves. 

2 Yet where our duty's task is wrought 
In unison with God's great thought, 
The near and future blend in one, 
And whatsoe'er is willed, is done. 

3 And ours the grateful service whence 
Comes, day by day, the recompense ; 
The hope, the trust, the purpose stayed, 
The fountain, and the noonday shade. 

4 And were this life the utmost span, 
The only end and aim of man, 
Better the toil of fields like these 
Than waking dream and slothful ease. 

5 But life, though falling like our grain, 
Like that revives and springs again ; 
And, early called, how blest are they 
Who wait in heaven, their harvest day ! 

John G. Whittier. 

Copyright, Houghton, Mifflin & Co. 

"Seed-time and Harvest" is the title of 
this hymn as it appears in the author's 
Miscellaneous Poems. It was written 
about 1850, as shown by the author's man- 
uscript. The first three stanzas of the 
original poem are omitted: 

1 As o'er his furrowed fields which lie 
Beneath a coldly-dropping sky, 

Yet chill with winter's melted snow, 
The husbandman goes forth to sow, 

2 Thus, Freedom, on the bitter blast 
The ventures of thy seed we cast, 
And trust to warmer sun and rain 

To swell the germs and fill the grain. 

3 Who calls thy glorious service hard? 
Who deems it not its own reward? 
Who, for its trials, counts it less 

A cause of praise and thankfulness? 

This is a hymn full of comfort to faith- 
ful but discouraged and sorrowing Chris- 
tian, workers in life's great harvest field. 


L. M. 

GO, labor on ; spend and be spent, 
Thy joy to do the Father's will ; 
It is the way the Master went ; 

Should not the servant tread it still? 

2 Go, labor on ; 'tis not for naught ; 

Thine earthly loss is heavenly gain ; 

Men heed thee, love thee, praise thee not ; 

The Master praises — what are men? 

3 Go, labor on ; your hands are weak ; 

Your knees are faint, your soul cast down 
Yet falter not ; the prize you seek 
Is near — a kingdom and a crown ! 

Horatius Bonar. 



Title: "The Useful Life." It is from 
the author's Hymns of Faith and Hope, 
first series, 1867. The original has eight 
stanzas. These are the first two and the 
fourth, unaltered. Two additional stan- 
zas are given in many hymnals: 

Toil on, faint not ; keep watch and pray ! 

Be wise the erring soul to win ; 
Go forth into the world's highway ; 

Compel the wanderer to come in. 

Toil on, and in thy toil rejoice ; 

For toil comes rest, for exile home ; 
Soon shalt thou hpar the Bridegroom's 17 oice, 

The midnight peal, "Behold, I come !" 

400 l. M. 

FORTH in thy name, O Lord, I go, 
My daily labor to pursue, 
Thee, only thee, resolved to know, 
In all I think, or speak, or do. 

2 The task thy wisdom hath assigned, 

O let me cheerfully fulfill ; 
In all my works thy presence find, 
And prove thy good and perfect will. 

3 Give me to bear thy easy yoke, 

And every moment watch and pray ; 
And still to things eternal look, 
And hasten to thy glorious day; 

4 For thee delightfully employ 

Whate'er thy bounteous grace hath given ; 
And run my course with even joy, 

And closely walk with thee to heaven. 
Charles Wesley. 

"Before Work" is the title of this in 
the author's Hymns and Sacred Poems 
(1749). The third and fourth stanzas of 
the original are omitted: 

3 Preserve me from my calling's snare, 

And hide my simple heart above, 
Above the thorns of choking care, 
The gilded baits of worldly love. 

4 Thee may I set at my right hand, 

Whose eyes mine inmost substance see ; 
And labor on at thy command, 
And offer all my works to thee. 

This hymn is an ideal expression of the 
spirit and feelings of a consecrated and 
faithful child of God as he goes forth to 
his daily tasks. Such sentiments have 

power to turn even drudgery into a life of 
noble and blessed service. "Never fear," 
said Phillips Brooks, "to bring the sublim- 
est motive to the smallest duty, and the 
most infinite comfort to the smallest trou- 


L. M. 

OGOD, most merciful and true, 
Thy nature to my soul impart ; 
'Stablish with me the covenant new, 
And stamp thine image on my heart. 

2 To real holiness restored, 

let me gain my Saviour's mind, 
And in the knowledge of my Lord, 

Fullness of life eternal find ! 

3 Remember, Lord, my sins no more, 

That them I may no more forget; 
But, sunk in guiltless shame, adore, 
With speechless wonder, at thy feet. 

4 Overwhelmed with thy stupendous grace, 

1 shall not in thy presence move, 
But breathe unutterable praise, 

And rapturous awe, and silent love. 

5 Pardoned for all that I have done, 

My mouth as in the dust I hide 
And glory give to God alone, 
My God forever pacified. 

Charles Wesley. 

One of Wesley's most worshipful hymns, 
taken from Short Hymns on Select Pas- 
sages of the Holy Scriptures, 1762. It is 
based on Ezekiel xvi. 62, 63: 

I will stablish my covenant with thee ; and 
thou shalt know that I am the Lord : that 
thou mayest remember, and be confounded, 
and never open thy mouth any more, because 
of thy shame, when I am pacified toward thee 
for all that thou hast done, saith the Lord 

In the last line of the first verse Wesley 
wrote: "And ivrite Salvation on my 
heart." Four significant lines, omitted 
above, follow the fourth verse: 

Then every murmuring thought and vain 
Expires, in sweet confusion lost, 

I cannot of my cross complain, 
I cannot of my goodness boast. 



402 8s, 7s. D. 

HARK, the voice of Jesus calling, 
"Who will go and work to-day? 
Fields are white, and harvests waiting, 

Who will bear the sheaves away?" 
Loud and long the .Master calleth, 

Rich reward he offers f n . ; 
"Who will answer, gladly saying, 
"Here am I, send me, send me?" 

2 If you cannot cross the ocean, 

And the heathen lands explore, 
You can find the heathen nearer, 

You can help them at your door; 
If you cannot give your thousands, 

You can give the widow's mite ; 
And the least you give for Jesus 

Will be precious in his sight. 

3 Let none hear you idly saying, 

"There is nothing I can do," 
While the souls of men are dying, 

And the Master calls for you : 
Take the tasks he gives you gladly ; 

Let his work your pleasure be ; 
Answer quickly when he calleth, 

"Here am I, send me, send me." 

Daniel March. 

This hymn was written in 1868, while 
the author was a pastor in Philadelphia. 
On the 18th of October he was to preach, 
by request, to the Christian Association 
of that city. At a late hour he learned 
that one of the hymns selected was not 
suitable. His text was: 'Here am I; send 
me." (Isa. vi. 8.) In "great haste," he 
says, he wrote the hymn, and it was sung 
from the manuscript. In verse one the 
author wrote "crying" instead of "call- 
ing." The original contains one stanza 
that is omitted above: 

3 If you cannot speak like angels, 

If you cannot preach like Paul, 
You can tell the love of Jesus, 

You can say he died for all ; 
If you cannot rouse the wicked 

With the judgment's dread alarms, 
You can lead the little children 

To the Saviour's waiting arms. 

This hymn is an appeal to Christian be- 
lievers to consecrate themselves to serv- 
ice, especially service in home and foreign 
mission fields. It is an ideal hymn to 

sing at the conclusion of a sermon on 
Christian service. 

403 L- m. 

DEFEND us, Lord, from every ill; 
Strengthen our hearts to do thy will; 
In all we plan and all we do, 
Still keep us to thy service true. 

i' O let us hear the inspiring word 
Which they of old at Horeb heard; 
Breathe to our hearts the high command, 
"Go onward and possess the land !" 

3 Thou who art light, shine on each soul ! 
Thou who art truth, each mind control ! 
Open our eyes and make us see 
The path which leads to heaven and thee ! 

John Hay. 

Copyright, Houghton, Mifflin & Co. 

The Christian Endeavor World for Jan- 
uary 12, 1905, gives a facsimile of the au- 
thor's manuscript of this hymn. The ti- 
tle is: "Invocation" The first verse, 
omitted here, is as follows: 

Lord, from far-severed climes we come 
To meet at last in Thee, our Home. 
Thou who hast been our guide and guard 
Be still our hope, our rich reward. 

The rest of the hymn is as here given. 
It was written for the fifteenth Interna- 
tional Christian Endeavor Convention,, 
held at Washington, D. C, July 8-13, 1896. 
The Golden Rule of July 1G, 1896, in a re- 
port of the Convention says: "The fine in- 
vocation hymn, written for us by the 
Washington poet, John Hay, was read in 
unison by the audience and sung with a 

Mr. Hay was not a professional hymn- 
writer. His poetic fame began with such 
compositions as "Jim Bludso" and "Little 
Breeches;" but he could write in a very 
different style, and that he occasionally 
did so this hymn is sufficient proof. 

One of his serious poems, entitled "Si- 
nai and Calvary," closes with this fine 

Almighty God ; direct us 
To keep Thy perfect Law ! 

O blessed Saviour, help us 
Nearer to Thee to draw ! 



Let Sinai's thunders aid us 
To guard our feet from sin ; 

And Calvary's light inspire us 
The love of God to win. 

404 C. M. 

RISE, O my soul, pursue the path 
By ancient worthies trod ; 
Aspiring, view those holy men 
Who lived and walked with God. 

2 Though dead, they speak in reason's ear, 

And in example live ; 
Their faith and hope and mighty deeds 
Still fresh instruction give. 

3 'Twas through the Lamb's most precious 

They conquered every foe ; 
And to his power and matchless grace 
Their crowns of life they owe. 

4 Lord, may I ever keep in view 

The patterns thou hast given, 

And ne'er forsake the blessed road 

That led them safe to heaven. 

John Needham. 

This hymn on "The Example of the 
Saints" was first published in 1768 in the 
author's Hymns Devotional and Moral. 
It is based on the eleventh chapter of He- 


L. M. 

AWAKE, our souls ! away, our fears ! 
Let every trembling thought be gone ! 
Awake, and run the heavenly race 
And put a cheerful courage on. 

2 True, 'tis a strait and thorny road, 

And mortal spirits tire and faint ; 
But they forget the mighty God 

That feeds the strength of every saint. 

3 From him, the overflowing spring, 

Our souls shall drink a fresh supply; 

While such as trust their native strength, 

Shall melt away, and droop, and die. 

4 Swift as the eagle cuts the air, 

We'll mount aloft to his abode ; 
On wings of love our souls shall fly, 
Nor tire amidst the heavenly road. 

Isaac Watts. 

Title: "The Christian Race." From 
Hymns and Spiritual Songs, 1707. 

It is based upon a fine passage in Isaiah 
xl. 28-31: 

Hast thou not known? hast thou not heard, 
that the everlasting God, the Lord, the Cre- 
ator of the ends of the earth, fainteth not, 
neither is weary? there is no searching of his 
understanding. He giveth power to the faint ; 
and to them that have no might he increaseth 
strength. Even the youths shall faint and be 
weary, and the young men shall utterly fall : 
but they that wait upon the Lord shall renew 
their strength ; they shall mount up with 
wings as eagles ; they shall run, and not be 
weary ; and they shall walk, and not faint. 

Two lines have been changed. Verse 
three, line one, Watts wrote, "From thee, 
the overflowing spring;" and verse four, 
line two, "We'll mount aloft to thine 
abode." These are changes for the worse. 
Direct address to Deity is not only al- 
lowed, but is demanded by the exigencies 
of prayer and praise. It has not been 
otherwise changed except that the third 
verse of the original has been omitted. 


C. M. 


ESUS, my Lord, how rich thy grace ! 

Thy bounties how complete ! 
How shall I count the matchless sum ! 

How pay the mighty debt ! 

2 High on a throne of radiant light 

Dost thou exalted shine ; 
What can my poverty bestow, 
When all the worlds are thine? 

3 But thou hast brethren here below, 

The partners of thy grace, 
And wilt confess their humble names 
Before thy Father's face. 

4 In them thou mayst be clothed and fed, 

And visited and cheered, 
And in their accents of distress 
My Saviour's voice is heard. 

Philip Doddridge. 

This hymn on "Relieving Christ in His 
Poor Saints" is based on Matthew xxv. 40: 
"Inasmuch as ye have done it unto one of 
the least of these my brethren, ye have 
done it unto me." From the author's 
Hymns, 1755. The fifth stanza is omit- 

5 Thy face with reverence and with love, 

I in thy poor would see ; 
O rather let me beg my bread, 
Than hold it back from thee ! 



407 P- M. 

BE strong! 
We are not here to play, to dream, to drift, 
We have hard work to do, and loads to lift. 
Slum not the struggle, face it, 'tis God's 

strong ! 
Say not the days are evil — who's to blame? 
And fold the hands and acquiesce — O 

shame ! 
Stand up. speak out, and bravely, in God's 

3 Be strong ! 

It matters not how deep intrenched the 

How hard the battle goes, the day, how 

Faint not, fight on ! To-morrow comes the 

Maltbie D. Babcock. 

Copyright, 1901, by Charles Scribner's Sons. 

Title: "Be Strong." 

This hymn is found in Thoughts for Ev- 
ery Day Living, edited by Mrs. Babcoek. 

This is a strenuous hymn, and ought to 
be widely useful. 

Something of the spirit of the author 
can be seen from a little poem that he 
wrote in his early ministry. It is pref- 
aced by the words of Paul (Phil. iii. 14) : 
"I press toward the mark for the prize of 
the high calling of God in Christ Jesus." 

O Lord. I pray 
That for this day 

I may not swerve 
By foot or hand 
From thy command, 
Xot to be served, but to serve. 

This too I pray : 
That for this day 
Xo love of ease 
Xor pride prevent 
My good intent 
Not to be pleased, but to please. 

And if I may, 
I'd have this day 

Strength from above 
To set my heart 
In heavenly art 
Xot to be loved, but to love. 


7s, Gs. 

LEAD on, O King Eternal, 
The day of march has come; 
Henceforth in fields of conquest 
Thy tenta shall be our home. 
Through days of preparation 

Thy grace has made us strong, 
And now, O King Eternal, 
We lift our battle song. 

2 Lead on, O King Eternal, 

Till sin's fierce war shall cease, 
And holiness shall whisper 

The sweet Amen of peace ; 
For not with swords loud clashing, 

Xor roll of stirring drums ; 
With deeds of love and mercy, 

The heavenly kingdom comes. 

3 Lead on, O King Eternal, 

We follow, not with fears ; 
For gladness breaks like morning 

Where'er thy face appears ; 
Thy cross is lifted o'er us ; 

We journey in its light : 
The crown awaits the conquest ; 

Lead on, O God of might. 

Ernest W. Shurtleff. 

This hymn on ''The Christian Warfare" 
was written by the author in 1SS7 as a 
parting hymn for his class and fellow-stu- 
dents at Andover Theological Seminary, 
from which institution he graduated in 
1887. It was published that same year in 
the author's Hymns of the Faith. The 
second verse is very fine. Some of our 
very finest hymns were written by theo- 
logical students: "My country, 'tis of 
thee." "My faith looks up to thee," etc. 

This lyric has the poetic flow and fervor 
of a true hymn in it. We could wish the 
author had written others like it. 


L. M. 


FIGHT the good fight with all thy might, 
Christ is thy strength, and Christ 
right : 
Lay hold on life, and it shall be 
Thy joy and crown eternally. 

Run the straight race through God's good 

Lift up thine eyes, and seek his face ; 
Life with its way before us lies, 
Christ is the path, and Christ the prize. 



3 Cast care aside, lean on thy guide ; 
His boundless mercy will provide ; 
Trust, and thy trusting soul shall prove 
Christ is its life, and Christ its love. 

4 Faint not nor fear, his arms are near ; 
He changeth not, and thou art dear; 
Only believe, and thou shalt see 
That Christ is all in all to thee. 

John S. B. M on sell. 

Founded upon 1 Timothy vi. 12: "Fight 
the good fight of faith, lay hold on eternal 

From the author's Hymns of Love and 
Praise, 1866. It has not been altered ex- 
cept in the third verse, which appears as 

Cast care aside, upon thy guide 
Lean, and His mercy will provide ; 
Lean, and the trusting soul shall prove 
Christ is its life, and Christ its love. 

410 L. M. 

LORD, speak to me, that I may speak 
In living echoes of thy tone ; 
As thou hast sought, so let me seek 
Thy erring children lost and lone. 

2 O strengthen me, that while I stand 

Firm on the rock, and strong in thee, 
I may stretch out a loving hand 

To wrestlers with the troubled sea. 

3 O teach me, Lord, that I may teach 

The precious things thou dost impart ; 
And wing my words, that they may reach 
The hidden depths of many a heart. 

4 O give thine own sweet rest to me, 

That I may speak with soothing power 
A word in season, as from thee, 
To weary ones in needful hour. 

5 O fill me with thy fullness, Lord, 

Until my very heart o'erflow 
In kindling thought and glowing word, 
Thy love to tell, thy praise to show. 

6 O use me, Lord, use even me, 

Just as thou wilt, and when, and where ; 
Until thy blessed face I see, 

Thy rest, thy joy, thy glory share. 

Frances R. Havergal. 

"A Worker's Prayer" is the title which 
the author gave to this hymn. It is based 
on Romans xiv. 7: "None of us liveth to 
himself." It was written April 28, 1872, 

at Winterdyne, and was first printed that 
same year as a musical leaflet. Two years 
later it appeared in her volume titled 
Under the Surface. It is one of the most 
useful and popular of Mrs. Havergal's 
hymns, and fills a place not filled by any 
other hymn. It gives felicitous expres- 
sion to a most worthy rspiration of every 
devout and consecrated soul, seeking a 
blessing from God which may be and must 
be passed on to others. "Speak to me 
that I may speak to others, strengthen me 
that I may strengthen others, teach me 
that I may teach others, give me rest that 

1 may know how to give rest to others, 
fill me that I may fill others." This is in- 
deed an ideal "worker's prayer" in that it 
is pervaded with the spirit of Christian 
altruism. It seeks sanctification, not for 
selfish enjoyment, but for service. This 
"worker's prayer" was richly answered in 
the author's own beautifully consecrated 
and useful life. 

A competent and judicious critic, writ' 
ing in Julian's Dictionary of Hymnology, 

By her distinct individuality Miss Havergal 
carved out a niche which she alone could fill. 
Simply and sweetly she sang the love of God 
and his way of salvation. To this end and 
for this object her whole life and all her 
powers were consecrated. She lives and 
speaks in every line of her poetry. Her 
poems are permeated with the fragrance of 
her passionate love of Jesus. The burden of 
her writings is a free and full salvation, 
through the Redeemer's merits, for every sin- 
ner who will receive it, and her life was de- 
voted to the proclamation of this truth by 
personal labors, literary efforts, and earnest 
interest in foreign missions. 

411 L. M. 

MASTER, let me walk with thee 
In lowly paths of service free ; 
Tell me thy secret ; help me bear 
The strain of toil, the fret of care. 

2 Help me the slow of heart to move 
By some clear, winning word of love ; 
Teach me the wayward feet to stay, 
And guide them in the homeward way. 



3 Teach mo thy patience; still with thee 
In closer, dearer company. 

In work that keeps faith sweet and strong, 
In trust that triumphs over wrong. 

4 In hope that sends a shining ray 

Far down the future's broadening way ; 
In peace that only thou canst give, 
With thee, O Master, let me live. 

Washington Gladden. 

In a note dated June 15, 1907, the au- 
thor says: 

This hymn was written in 1S79 for a mag- 
azine, Sunday Afternoon, which I was then 
editing. There were three eight-lined stan- 
zas. Dr. Charles II. Richards found the poem, 
which was not intended for a hymn, and 
made a hymn of it by omitting the second 
stanza, which was not suitable for devotion- 
al purposes. 

It was first published in its new form in 
Songs of Christian Praise, 1880. If not 
written for a hymn, it has the true hym- 
nic spirit, and ought to be widely used. 

The omitted stanza reads as follows: 

O Master, let me walk with thee 
Before the taunting Pharisee ; 
Help me to bear the sting of spite, 
The hate of men who hide thy light, 
The sore distrust of souls sincere 
Who cannot read thy judgments clear, 
The dullness of the multitude 
Who dimly guess that thou art good. 

412 7s 

OFT in danger, oft in w r oe, 
Onward, Christians, onward go : 
Fight the fight, maintain the strife 
Strengthened with the bread of life. 

2 Let your drooping hearts be glad : 
March in heavenly armor clad: 
Fight, nor think the battle long, 
Victory soon shall tune your song. 

3 Let not sorrow dim your eye, 
Soon shall every tear be dry ; 
Let not fears your course impede, 
Great your strength, if great your need. 

4 Onward then in battle move, 

More than conquerors ye shall prove ; 

Though opposed by many a foe, 

Christian soldiers, onward go. 

H. Kirke White, 
Frances S. Colquhoun. 

This hymn has a curious history. Kirke 
White died October 19, 1806, in the twen- 
ty-second year of his age, while he was a 
student at St. John's College in the Uni- 
versity of Cambridge, but not until he had 
given evidence of possessing rare gifts as 
a poet. (See No. 124.) After his death 
there was found on the back of one of his 
mathematical papers the following unfin- 
ished poem, a mere poetic fragment. 

''The Christian Soldier encouraged.'" 

1 Tim. vi. 12. H. K. AVhite. 
Much in sorrow, oft in woe, 
Onward, Christians, onward go, 
Fight the fight, and worn with strife, 
Steep with tears the bread of life. 

Onward, Christians, onward go, 
Join the war, and face the foe : 
Faint not — much doth yet remain, 
Dreary is the long campaign. 

Shrink not, Christian — will ye yield? 
Will ye quit the painful field? 

W. B. Collyer added six lines to these 
three and a half stanzas, thereby making 
a hymn of four stanzas, which he pub- 
lished in his Hymns Partly Collected and 
Partly Original. 1812. The following are 
the lines added: 

Fight till all the conflict's o'er, 
Nor your foemen rally more. 

But when loud the trumpet blown 
Speaks their forces overthrown, 
Christ, your Captain, shall bestow 
Crowns to grace the conqueror's brow. 

In 1827 Mrs. Bethia Fuller-Maitland 
published a volume titled Hymns for Pri- 
vate Devotion, and in it the above verses 
written by White were republished with 
additions by her own daughter, Frances 
Sara, then only fourteen years old, these 
last taking the place of the six lines writ- 
ten by Collyer. Frances Fuller- Maitland's 
lines were as follows: 

Will ye flee in danger's hour? 
Know ye not your Captain's power? 

4 Let your drooping hearts be glad ; 
March in heavenly armor clad : 
Fight, nor think the battle long. 
Victory soon shall tune your song. 



5 Let not sorrow dim your eye, 
Soon shall every tear be dry ; 
Let not fears your course impede, 
Great your strength, if great your need. 

6 Onward then to battle move, 

More than conquerors ye shall prove ; 
Though opposed by many a foe, 
Christian soldiers, onward go. 

The hymn as thus written, partly by 
White and partly by Frances Fuller-Mait- 
land, was next published by Edward Bick- 
ersteth in 1833 in his Christian Psalmody, 
with certain alterations of his own in the 
first stanza, which he made to read as 

Oft in sorrow, oft in woe, 
Onward, Christians, onward go ; 
Fight the fight, maintain the strife, 
Strengthened with the bread of life. 

Another version of the same text was 
given in W. J. Hall's Mitre Hymn Boole, 
1836, the opening lines of which are: 

Oft in danger, oft in woe, 
Onward, Christians, onward go. 

Perhaps no hymn in this entire collec- 
tion has had so many different hands to 
take a part in the writing of it as this 
hymn. We are indebted to Julian's Dic- 
tionary for the explanation here given of 
the development of this hymn, only a few 
lines of which, in its present form, were 
written by White. 

413 S. M. 

STAND, soldier of the cross, 
Thy high allegiance claim, 
And vow to hold the world but loss 
For thy Redeemer's name. 

2 Arise, and be baptized, 

And wash thy sins away ; 
Thy league with God be solemnized, 
Thy faith avouched to-day. 

3 No more thine own, but Christ's ; 

With all the saints of old, 
Apostles, seers, evangelists, 
And martyr throngs enrolled. 

4 In God's whole armor strong, 

Front hell's embattled powers : 
The warfare may be sharp and long, 
The victory must be ours. 

5 O bright the conqueror's crown, 
The song of triumph sweet, 
When faith casts every trophy down 
At our great Captain's feet. 

Edward H. Bickersteth. 

This hymn for adult baptism was writ- 
ten by the author for his Hymnal Compan- 
ion to the Book, of Common Prayer. The 
scriptural basis of the hymn is Acts xxii. 
16: "And now why tarriest thou? arise, 
and be baptized, and wash away thy sins, 
calling on the name of the Lord." 

Bishop Bickersteth wrote verse two, 
line three: 

Thy faith and hove be realized. 

The third stanza of the original has 
been omitted. It is perhaps not quite 
suitable for our use: 

Our heavenly country now, 
Our Lord and Master, thine, 

Receive imprinted on thy brow 
His passion's awful sign. 

In the Sunday Service, adopted in 1784, 
the sign of the cross was required in the 
baptism of children, but it was not long 

414 c. m. d; 

THE toil of brain, or heart, or hand, 
Is man's appointed lot ; 
He who God's call can understand 

Will work and murmur not. 
Toil is no thorny crown of pain, 

Bound round man's brow for sin ; 
True souls, from it, all strength may gain, 
High manliness may win. 

2 O God ! who workest hitherto, 

Working in all we see, 
Fain would we be, and bear, and do, 

As best it pleaseth thee. 
Where'er thou sendest we will go, 

Nor any question ask, 
And what thou biddest we will do, 

Whatever be the task. 

3 Our skill of hand, and strength of limb, 

Are not our own, but thine ; 
We link them to the work of Him 

Who made all life divine ! 
Our brother-friend, thy holy Son, 

Shared all our lot and strife ; 
And nobly will our work be done, 

If molded by his life. 

Thomas W. Freckelton. 



A useful hymn on "Christian Service" 1 
which was taken from Horder's Congre- 
gational Hymns, 1884. In no department 
of hymnology and Christian worship has 
there been in recent times a more notable 
enrichment and enlargement than in the 
many new hymns written on Christian 
service and on taking the Christian spirit 
into one's daily labors. This is one of the 
best of these songs for Christian toilers. 

415 L. M. 61. 

FAITH of our fathers ! living still 
In spite of dungeon, fire, and sword : 
O how our hearts beat high with joy 

AVhene'er we hear that glorious word ! 
Faith of our fathers ! holy faith ! 
We will be true to thee till death ! 

2 Our fathers, chained in prisons dark, 

Were still in heart and conscience free : 
How sweet would be their children's fate, 

If they, like them, could die for thee ! 
Faith of our fathers ! holy faith ! 
We will be true to thee till death ! 

3 Faith of our fathers ! we will love 

Both friend and foe in all our strife : 
And preach thee, too, as love knows how, 

By kindly words and virtuous life : 
Faith of our fathers ! holy faith ! 
We will be true to thee till death ! 

Frederick W. Faber. 

From Jesus and Mary; or, Catholic 
Hymns for Singing and Reading, by Fred- 
erick W. Faber, 1849. 

There are four stanzas in the original. 
These are verses one, two, and four ver- 

The third stanza is omitted for evident 

Faith of our fathers ! Mary's prayers 
Shall win our country back to thee ; 

And through the truth that conies from God, 
England shall then indeed be free. 

Faith of our Fathers ! Holy Faith ! 

We will be true to thee till death ! 

The author of this hymn w T as a Roman 
Catholic. If the "faith of our fathers" 
was Catholic, the faith of our forefathers 
was Protestant. In confirmation of this 
statement we appeal to the history of the 

early Church as given in the New Testa- 

It is a popular hymn, and is widely used 
by Protestant Churches. The last stanza 
is especially fine and Christian in spirit. 

416 C ML D. 

THE Son of God goes forth to war, 
A kindly crown to gain : 
His blood-red banner streams afar ; 

Who follows in his train? 
Who best can drink his cup of woe, 

Triumphant over pain, 
Who patient bears his cross below, 
He follows in his train. 

2 The martyr first, whose eagle eye 

Could pierce beyond the grave, 
Who saw his Master in the sky, 

And called on him to save : 
Like him, with pardon on his tongue, 

In midst of mortal pain, 
He prayed for them that did the wrong : 

Who follows in his train? 

3 A glorious band, the chosen few 

On whom the Spirit came, 
Twelve valiant saints, their hope the}- knew, 

And mocked the cross and flame ; 
They climoed the steep ascent of heaven 

Through peril, toil, and pain : 
O God, to us may grace be given 

To follow in their train. 

Reginald Heber. 

This is one of the most popular and 
useful of the fifty-seven hymns written by 
Bishop Heber. It was written for St. 
Stephen's Day, and was first published 
after the author's death in his posthumous 
volume titled Hymns Written and Adapt- 
ed to the Weekly Church Services of the 
Year, 1827. In the author's manuscript 
collection in the British Museum the first 
line reads: "The Son of God is gone to 
war." In the first line of the third verse, 
instead of "A glorious band" the author 
wrote "A noble band;" and in the fourth 
line of the same verse he wrote "the torch 
of flame" instead of "the cross and flame." 
The original contains eight single stanzas. 
The sixth and seventh, omitted above, are: 

6 They met the tyrant's brandished steel, 
The lion's gory mane, 
They bowed their necks the stroke to feel : 
Who follows in their train? 



7 A noble army, men and boys, 
The matron and the maid, 
Around the throne of God rejoice, 
In robes of light arrayed. 

Dr. Telford has the following note on 
this hymn: 

In Mrs. Ewing's Story of a Short Life it is 
the favorite, hymn in the barracks, where the 
soldiers call it the "tug of war" hymn. The 
officer's son, who had been crippled for life 
by an accident, begs just before his death that 
the soldiers will sing it again. They go un- 
der his window, and when in the midst of the 
verse, "A noble army, men and boys," a hand 
is seen at the window pulling down the blind. 
The brave sufferer is gone. The story made 
the hymn widely popular among children as 
the "tug of war" hymn. 


S. M. 

TEACH me, my God and King, 
In all things thee to see, 
And what I do in anything, 
To do it as for thee. 

2 To scorn the senses' sway, 

While still to thee I tend ; 
In all I do be thou the way, 
In all be thou the end. 

3 All may of thee partake ; 

Nothing so small can be 
But draws, when acted for thy sake, 
Greatness and worth from thee. 

4 If done to obey thy laws, 

E'en servile labors shine ; 
Hallowed is toil, if this the cause, 
The meanest work, divine. 

5 Thee, then, my God and King, 

In all things may I see ; 
And what I do, in anything, 
May it be done for thee ! 

George Herbert. Alt. 

Author's title: "The Elixir.''' It is from 
his volume titled The Temple, 1633. The 
first verse is verbatim from the poem. 
The last verse is a modification of the 

Verses two and four were written by 
John Wesley and published in his Collec- 
tion of Psalms and Hymns, 1778. The 
third verse was altered by Wesley. 

We give the original: 

Teach me, my God and King, 

In all things Thee to see, 
And what I do in anything, 

To do it as for Thee. 

Not rudely, as a beast, 

To run into an action ; 
But still to make Thee prepossest, 

And give it his perfection. 

A man that looks on glass, 

On it may stay his eye ; 
Or if he pleaseth, through it pass, 

And then the Heav'n espy. 

All may of Thee partake : 

Nothing can be so mean, 
Which with his tincture (for Thy sake), 

Will not grow bright and clean. 

A servant with this clause 

Makes drudgery divine : 
Who sweeps a room, as for Thy laws, 

Makes that and th' action fine. 

This is the famous stone, 

That turneth all to gold : 
For that which God doth touch and own 

Cannot for less be told. 

John Wesley possessed a fine taste. By 
his criticisms he improved some of his 
brother's hymns. He changed some of 
Dr. Watts's lines for the better, and in 
this case he took what was imperfect in 
form, and by omissions, additions, and 
changes made it into a useful and beauti- 
ful hymn. The hymn mender is some- 
times a very useful man. 


P. M. 


march, we march to victory, 

With the cross of the Lord before us, 
With his loving eye looking down from the 

' sky, 

And his holy arm spread o'er us. 
We come in the might of the Lord of light, 

A joyful host to meet him : 
And we put to flight the armies of night, 

That the sons of the day may greet him. 

We march, we march to victory, 

With the cross of the Lord before us, 
With his loving eye looking down from the 
And his holy arm spread o'er us. 

2 Our sword is the Spirit of God on high, 
Our helmet is his salvation, 



Our banner, the cross of Calvary, 
Our watchword, the Incarnation. 

:! And the choir of angels with song awaits 
Our march to the golden Zion ; 
For our Captain has broken the brazen 
And burst the bars of iron. 

4 Then onward we march, our arms to prove, 
With the banner of Christ before us, 
With his eye of love looking down from 
And his holy arm spread o'er us. 

Gerard Moultrie. 

This hymn was first published in the 
church Times August 19, 1865, where it 
is titled Processional Hymn before Serv- 
ice" ("written expressly for use during 
present troubles"). The stirring tune to 
which it is set was written especially for 
it by Joseph Barnby. 

L19 P- M. 

NE more day's work for Jesus, 
One less of life for me ! 

But heaven is nearer, 

And Christ is dearer 
Than yesterday, to me ; 

His love and light 

Fill all my soul to-night. 

One more day's work for Jesus, 
One less of life for me ! 

One more day's work for Jesus ! 
How sweet the work has been, 

To tell the story, 

To show the glory, 
Where Christ's flock enter in ! 

How it did shine 

In this poor heart of mine ! 

One more day's w r ork for Jesus ! 
O yes, a weary day ; 

But heaven shines clearer 

And rest comes nearer, 
At each step of the way ; 

And Christ in all, 

Before his face I fall. 

O blessed work for Jesus ! 

O rest at Jesus' feet ! 

There toil seems pleasure, 
My wants are treasure, 

And pain for him is sweet. 
Lord, if I may, 
I'll serve another day ! 

Anna B. Warner. 

Title: "The Song of a Tired Servant." 
There are two omitted stanzas, the sec- 
ond and fourth, that are equal, if not su- 
perior, to those given: 

2 One more day's work for Jesus : 
How glorious is my King! 
'Tis joy, not duty, 
To speak his beauty; 

My soul mounts on the wing 
At the mere thought 
How Christ her life hath bought. 

4 One more day's w r ork for Jesus : 
In hope, in faith, in prayer, 

His word I've spoken — 

His bread I've broken, 
To souls faint with despair ; 

And bade them flee 

To him who hath saved me. 

The "tired servant" alluded to in the 
title was the Rev. Benjamin M. Adams, 
who, in a letter written at the close of a 
laborious day, spoke of physical weariness 
and of abounding spiritual joy. 

From Wayfaring Hymns Original and 
Translated, by Anna Warner. Preface 
date, 1869. 

420 Us, 10s. 

TRUE-HEARTED, whole-hearted, faithful 
and loyal, 
King of our lives, by thy grace we will 
Under the standard exalted and royal, 

Strong in thy strength we will battle for 

Peal out the watchword ! silence it never ! 

Song of our spirits, rejoicing and free ; 
Peal out the watchword ! loyal forever ! 

King of our lives, by thy grace we will be. 

2 True-hearted, whole-hearted, fullest alle- 

Yielding henceforth to our glorious King ; 
Valiant endeavor and loving obedience. 
Freely and joyously now would we bring. 

3 True-hearted, whole-hearted, Saviour all- 

glorious ! 
Take thy great power and reign there 
Over our wills and affections victorious, 
Freely surrendered and wholly thine own. 
Frances R. Haver gal. 



An inspiring hymn on "Faithfulness to 
the Saviour." It was first published in 
the author's Loyal Responses, 1878. It is 
one of the most popular and effective 
hymns in the entire Hymnal for use in 
college chapel and Sunday school services. 
It is a poetic call to courage and to fidelity 
to Christ which abides in the head and 
heart and conscience of every young per- 
son who sings these words. 


S. M. 

REJOICE, ye pure in heart ! 
Rejoice, give thanks and sing ! 
Your glorious banner wave on high, 
The cross of Christ your King ! 

Rejoice, rejoice, 
Rejoice, give thanks and sing. 

2 Bright youth, and snow-crowned age, 

Strong men and maidens meek : 

Raise high your free, exulting song ! 

God's wondrous praises speak ! 

3 With all the angel choirs, 

With all the saints of earth, 
Pour out the strains of joy and bliss, 
True rapture, noblest mirth ! 

4 Your clear hosannas raise, 

And alleluias loud ! 
Whilst answering echoes upward float, 
Like wreaths of incense cloud. 

5 Yes, on through life's long path ! 

Still chanting as ye go ; 
From youth to age, by night and day, 
In gladness and in woe. 

6 Still lift your standard high ! 

Still march in firm array ! 
As warriors through the darkness toil, 
Till dawns the golden day ! 

7 At last the march shall end ; 

The wearied ones shall rest ; 
The pilgrims find their Father's house, 
Jerusalem the blest. 

8 Then on, ye pure in heart ! 

Rejoice, give thanks, and sing ! 

Your glorious banner wave on high, 

The cross of Christ your King ! 

Edivard H. Plumptre. 

A processional hymn written in May, 
1865, for a choir festival in Peterborough 

Cathedral. Published in Lazarus, and 
Other Poems, the same year. The au- 
thorized text is found in Hymns Ancient 
and Modern — ten stanzas and a doxology. 
The author wrote in the last stanza: 
"Your festal banner." Otherwise than 
this it has not been altered, but the re- 
frain has been added. 



7s, 6s. D. 

ORK, for the night is coming, 

Work through the morning hours ; 
Work, while the dew is sparkling, 

Work 'mid springing flowers ; 
Work when the day grows brighter, 

Work in the glowing sun ; 
Work, for the night is coming, 

When man's work is done. 

2 Work, for the night is coming, 

Work through the sunny noon ; 
Fill brightest hours with labor, 

Rest comes sure and soon. 
Give every flying minute 

Something to keep in store : 
Work, for the night is coming, 

When man works no more. 

3 Work, for the night is coming, 

Under the sunset skies ; 
While their bright tints are glowing, 

Work, for daylight flies. 
Work till the last beam fadeth, 

Fadeth to shine no more ; 
Work while the night is darkening, 

When man's work is o'er. 

Annie L. Coghill. 

This hymn was written in 1854 while 
the author was residing in Canada, and 
was first published in a Canadian news- 
paper. It was first used as a song in Ira 
D. Sankey's Sacred Songs and Solos about 
1870, but the name of the author was not 
given. It was attributed in many publica- 
tions to Sidney Dyer, growing out of the 
fact that he wrote a hymn on the same 
subject about the same time that this 
hymn appeared in print. The author's 
hymns and poems were collected in 1859 
and published in a volume titled Leaves 
from the Backwoods, this hymn being 
found in that volume; and it is also re- 
published in her volume titled Oak and 
Maple, 1890. This is the most popular of 



all the hymns written on the memorable 
words of Jesus found in John ix. 4: '"I 
must work the works of him that sent me, 
while it is day: the night cometh, when 
no man can work." In most Church 
hymnals this hymn continues to be pub- 
lished under the author's maiden name 
(Annie L. Walker), notwithstanding the 
fact that she was married in 1884 to Mr. 
Harry Coghill. 

423 L- M. 

WHERE cross the crowded ways of life, 
Where sound the cries of race and clan, 
Above the noise of selfish strife, 
We hear thy voice, O Son of man ! 

2 In haunts of wretchedness and need, 

On shadowed thresholds dark with fears, 
From paths where hide the lures of greed, 
We catch the vision of thy tears. 

3 From tender childhood's helplessness, 

From woman's grief, man's burdened toil, 
From famished souls, from sorrow's stress, 
Thy heart has never known recoil. 

4 The cup of water given for thee 

Still holds the freshness of thy grace ; 
Yet long these multitudes to see 
The sweet compassion of thy face. 

5 O Master, from the mountain side, 

Make haste to heal these hearts of pain, 
Among these restless throngs abide, 
O tread the city's streets again, 

G Till sons of men shall learn thy love 
And follow where thy feet have trod: 
Till glorious from thy heaven above 
Shall come the city of our God. 

F. Mason North. 

This "Hy m)i for the City" was written 
in 1903 at the suggestion of Professor Win- 
chester, of the Hymnal Commission. 

The great need of the gospel among the 
masses of our cities has long rested heav- 
ily upon the heart of Dr. North. This 
need is voiced in the first part of the 
hymn; the last part is an earnest prayer 
to Christ as the only Physician who has 
sufficient sympathy, skill, and ability "to 
heal these hearts of pain." 

It was first published in a special num- 
ber of the Christian City. This hymn has 

been honored with a place in a recent 
book edited by Henry F. Cope, One Hun- 
dred Hymns You Ought to Know, New 
Yorfc, 1906. 


C. M. 

FOR a faith that will not shrink, 
Though pressed by every foe, 
That will not tremble on the brink 
Of any earthly woe ! 

That will net murmur nor complain 

Beneath the chastening rod, 
But, in the hour of grief or pain, 

Will lean upon its God ; 

A faith that shines more bright and clear 
When tempests rage without ; 

That when in danger knows no fear, 
In darkness feels no doubt ; 

4 That bears, unmoved, the world's dread 

Xor heeds its scornful smile ; 
That seas of trouble cannot drown, 
Xor Satan's arts beguile ; 

5 A faith that keeps the narrow way 

Till life's last hour is fled, 
And with a pure and heavenly ray 
Lights up a dying bed. 

•3 Lord, give me such a faith as this, 
And then, whate'er may come, 
I'll taste, e'en now, the hallowed bliss 
Of an eternal home. 

William H. Bathurst. 

This excellent hymn on ''The Power of 
Faith'' is from the author's Psal7ns and 
Hymns for Puolic and Private Use. 1831. 
and is based on 1 John v. 4: "And this is 
the victory that overcometh the world, 
even our faith." There are several verbal 
changes: In verse one, "any earthly" for 
"poverty or;" verse two, "Will lean" for 
"Can lean;" verse four, "seas of trouble" 
for "sin's wild ocean." and "Satan's" for 
"its soft;" verse five, "hour" for "spark;" 
verse six, "I'll taste" for "We'll taste." 

425 L. M. 

ESET with snares on every hand, 
In life's uncertain path I stand: 
Saviour divine, diffuse thy light, 
To guide my doubtful footsteps right. 

B 1 



2 Engage this roving, treacherous heart 
To fix on Mary's better part, 

To scorn the trifles of a day, 
For joys that none can take away. 

3 Then let the wildest storms arise ; 
Let tempests mingle earth and skies ; 
No fatal shipwreck shall I fear, 

But all my treasures with me bear. 

4 If thou, my Jesus, still be nigh, 
Cheerful I live, and joyful die ; 
Secure, when mortal comforts flee, 
To find ten thousand worlds in thee. 

Philip Doddridge. 

Author's title: "Mary's Choice of the 
Better Part:' Luke x. 42: "Mary hath 
chosen that good part, which shall not be 
taken away from her." 

Unaltered and complete from the au- 
thor's Hymns Founded on Various Texts 
m the Holy Scriptures, 1755. 

A worthy prayer-song; its logic is irre- 
futable. To be a follower of Christ is in- 
deed to choose "the better part." 


C. M. 

MY span of life will soon be done, 
The passing moments say ; 
And lengthening shadows o'er the mead 
Proclaim the close of day. 

2 O that my heart might dwell aloof 

From all created things, 
And learn that wisdom from above 
Whence true contentment springs ! 

3 Courage, my soul ! thy bitter cross, 

In every trial here, 
Shall bear thee to thy heaven above, 
But shall not enter there. 

4 Courage, my soul, on God rely, 

Deliverance soon will come : 
A thousand ways has Providence 
To bring believers home. 

Frances M. Cowper. 

Strangely enough, this beautiful hymn 
has found a place in only one other collec- 
tion besides our own. The sentiment in 
the third verse is rarely ever surpassed in 
Christian poesy, and the last two lines 
of the hymn have long since become an 
oft-quoted and much-admired Christian 
proverb. It first appeared in Original 

Poems on Various Occasions. By a Lady. 
Revised by William Cowper, Esq., of the 
Inner Temple. 1792. It was titled "The 
Consolation." In the first line of verse 
three the author wrote "Bear on" instead 
of "Courage." The original has five dou- 
ble stanzas. 


C. M. 

UT of the depths to thee I cry, 
Whose fainting footsteps trod 

The paths of our humanity, 
Incarnate Son of God ! 

2 Thou Man of grief, who once apart 

Didst all our sorrows bear — 
The trembling hand, the fainting heart, 
The agony, and prayer ! 

3 Is this the consecrated dower, 

Thy chosen ones obtain, 
To know thy resurrection power 
Through fellowship of pain? 

4 Then, O my soul, in silence wait ; 

Faint not, O faltering feet ; 
Press onward to that blest estate, 
In righteousness complete. 

5 Let faith transcend the passing hour, 

The transient pain and strife, 
Upraised by an immortal power, 
The power of endless life. 

Elizabeth E. Marcy. 

A strong and worthy prayer-song. It 
was contributed to the Hymnal of the 
Methodist Episcopal Church, 1878. 



C. M. 

UST Jesus bear the cross alone, 
And all the world go free? 

No, there's a cross for every one, 
And there's a cross for me. 

2 How happy are the saints above, 

Who once went sorrowing here ! 
But now thejr taste unmingled love, 
And joy without a tear. 

3 The consecrated cross I'll bear, 

Till death shall set me free ; 
And then go home my crown to wear, 
For there's a crown for me. 

Thomas Shepherd. Alt. 

The author wrote the first stanza as 



Shall Simon bear- thy cross alone, 

And other Saints be free? 
Each Saint of thine shall find his own, 

And there is one for me. 

This is found in the author's Penitential 
Cries, 1692. It is not known who wrote 
the second and third stanzas of this hymn. 
The third stanza appeared in The Social 
and Sabbath Hymn Book. 1849, edited by 
George N. Allen (who composed the tune 
called "Maitland"), and some haye in- 
ferred that he is the author of this clos- 
ing stanza. 



S. Bl 

servants of the Lord, 
Each in his office wait, 
Observant of his heavenly word, 
And watchful at his gate. 

2 Let all your lamps be bright, 

And trim the golden flame ; 
Gird up your loins, as in his sight, 
For awful is his name. 

3 Watch, 'tis your Lord's command : 

And while we speak he's near ; 
Mark the first signal of his hand, 
And ready all appear. 

4 O happy servant he 

In such a posture found ! 
He shall his Lord with rapture see, 
And be with honor crowned. 

Philip Doddridge. 


10, 10, 10. 

]7 OR 8 

1 res 

Title: "The Active Christian." 
founded upon Luke xii. 35-37: 

It is 

Let your loins be girded about, and your 
lights burning ; and ye yourselves like unto 
men that wait for their lord, when he will 
return from the wedding; that, when he com- 
eth and knocketh. they may open unto him 
immediately. Blessed are those servants, 
whom the lord when he cometh shall find 
watching: verily I say unto you, that he shall 
gird himself, and make them to sit down to 
meat, and will come forth and serve them. 

It has not been altered, but one stanza, 
the last, has been omitted: 

Christ shall the Banquet spread 
With his own royal Hand, 

And raise that fav'rite Servant's Head 
Amidst th' angelick Band. 

all the saints, who from their labors 

Who thee by faith before the world con- 

Thy name, O Jesus, be forever blessed, 

Hallelujah, Hallelujah ! 

2 Thou wast their rock, their fortress and 

their might ; 
Thou, Lord, their captain in the well-fought 

Thou, in the darkness drear, their one true 


3 O may thy soldiers, faithful, true, and bold. 
Fight as the saints who nobly fought of old. 
And win with them the victor's crown of 


4 O blest communion, fellowship divine ! 
We feebly struggle, they in glory shine ; 
Yet all are one in thee, for all are thine. 

5 And when the strife is fierce, the warfare 

Steals on the ear the distant triumph song, 
And hearts are brave again, and arms are 


6 The golden evening brightens in the west ; 
Soon, soon to faithful warriors comes thy 

rest ; 
Sweet is the calm of Paradise the blest. 

7 But lo, there breaks a yet more glorious 

day ; 
The saints triumphant rise in bright array ; 
The King of glory passes on his way. 

S From earth's wide bounds, from ocean's 
farthest coast, 
Through gates of pearl streams in the 

countless host, 
Singing to Father. Son, and Holy Ghost, 
'Hallelujah, Hallelujah !" 

William W. How. 

This hymn was first published in the 
volume titled Hymn for Saints' Day, and 
Other Hymns, by a layman (Earl Nel- 
son), 1864, where it has eleven stanzas, 
each stanza having "Alleluia" as a re- 
frain. The author first wrote in the open- 
ing line "Thy saints," but changed it later 
to "the saints." The third, fourth, and 
fifth stanzas, which are here omitted, 
sometimes appear as a separate hymn, and 
are as follows: 



3 For the Apostles' glorious company 

Who, bearing forth the cross o'er land and 

Shook all the mighty world, we sing to thee. 

4 For the Evangelists — by whose pure word 
Like fourfold stream, the garden of the 

Is fair and fruitful, be thy Name adored. 

5 For Martyrs — who with rapture-kindled eye 
Saw the bright crown descending from the 

And dying, grasped it, — Thee we glorify. 

431 6s, 5S. D. 

IN the hour of trial, 
Jesus, plead for me ; 
Lest by base denial, 

I depart from thee. 
When thou see'st me waver, 

With a look recall, 

Nor for fear or favor 

Suffer me to fall. 

2 With forbidden pleasures 

Would this vain world charm ; 
Or its sordid treasures 

Spread to work me harm ; 
Bring to my remembrance 

Sad Gethsemane, v 

Or, in darker semblance, 

Cross-crowned Calvary. 

3 Should thy mercy send me 

Sorrow, toil, and woe ; 
Or should pain attend me 

On my path below ; 
Grant that I may never 

Fail thy hand to see ; 
Grant that I may ever 

Cast my care on thee. 

4 When my last hour cometh, 

Fraught with strife and pain, 
When my dust returneth 

To the dust again ; 
On thy truth relying, 

Through that mortal strife, 
Jesus, take me, dying, 
To eternal life. 

James Montgomery. 
Alt. by Frances A. Hutton. 

This valuable lyric appears in Montgom- 
ery's Original Hymns, London, 1853, un- 
der the title, "Prayers on Pilgrimage." It 
was written in 1834. The title then was: 
il In Trial and Temptation." 

The author wrote the second line of the 

first stanza: "Jesus, pray for me." The 
objection has been made to this line that 
it is unscriptural. It is not. Christ said 
(John xvii. 9): "I pray for them." 
"Plead," however, is probably better for 
the use of the average worshiper. 
Montgomery began the second verse: 

With its witching pleasures. 

In the third and fourth stanzas the 
thought is Montgomery's, but it is toned 
down by the language of Mrs. Hutton. 
These lines, it seems to me, are not only 
less vigorous but less poetic than the 
original. Let the reader compare: 

3 If, with sore affliction, 

Thou in love chastise, 
Pour thy benediction 

On the sacrifice ; 
Then upon Thine altar, 

Freely offered up, 
Though the flesh may falter, 

Faith shall drink the cup. 

4 When, in dust and ashes, 

To the grave I sink, 
While heaven's glory flashes 

O'er the shelving brink, 
On Thy truth relying, 

Through that mortal strife, 
Lord, receive me, dying, 

To eternal life. 


I, 8, 6. D. 

COME on, my partners in distress, 
My comrades through the wilderness, 
Who still your bodies feel ; 
Awhile forget your griefs and fears, 
And look beyond this vale of tears, 
To that celestial hill. 

2 Beyond the bounds of time and space, 
Look forward to that heavenly place, 

The saints' secure abode ; 
On faith's strong eagle pinions rise, 
And force your passage to the skies, 

And scale the mount of God. 

3 Who suffer with our Master here, 
We shall before his face appear 

And by his side sit down ; 
To patient faith the prize is sure, 
And all that to the end endure 

The cross, shall wear the crown. 



4 Thrice blessfcd, bliss-inspiring hope ! 
Jt lifts the fainting spirits up, 

It brings to life the dead: 
Our conflicts here shall soon be past, 
Ami you and I asc< nd ;it last, 

Triumphant with our head. 

5 That great mysterious deity 

We soon with open face shall sec; 

The beatific sight 
Shall fill the heavenly courts with praise, 
And wide diffuse the golden blaze 

Of everlasting light. 

Charles Wesley. 

James Montgomery said of this hymn, 
which is one of Charles Wesley's finest 
products, that it not only anticipates the 
lofty strains of redeemed souls in heaven, 
but that it "is written almost in the spir- 
it of the Church triumphant." It first ap- 
peared in Hymns and Sacred Poems, 1749. 
In the first stanza the author wrote "the 
vale" instead of "this vale/' and in the 
second stanza "happy place" instead of 
"heavenly place." The third, seventh, and 
eighth stanzas, omitted above, are: 

3 See where the Lamb in glory stands, 
Encircled with His radiant bands, 

And join the angelic powers. 
For all that height of glorious bliss, 
Our everlasting portion is, 

And all that heaven is ours. 

7 The Father shining on His throne, 
The glorious co-eternal Son, 

The Spirit one and seven, 
Conspire our rapture to complete ; 
And, lo ! we fall before his feet, 

And silence heightens heaven. 

8 In Hope of that ecstatic pause, 
Jesus, we now sustain Thy cross, 

And at Thy footstool fall, 
'Till Thou our hidden life reveal, 
'Till Thou our ravish'd spirits fill, 

And God is all in all. 

433 L. M. 

TAKE up thy cross," the Saviour said, 
"If thou wouldst my disciple be ; 
Deny thyself, the world forsake, 
And humbly follow after me." 

2 Take up thy cross ; let not its weight 
Fill thy weak spirit with alarm ; 
His strength shall bear thy spirit up, 

And brace thy heart and nerve thine arm. 

3 Take up thy cross, nor heed the shame ; 
Nor let thy foolish pride rebel ; 
Thy Lord for thee the cross endured, 
To save thy soul from death and hell. 

1 Take up thy cross, and follow Christ; 
Nor think till death to lay it down ; 
For only he who bears the cross 

May hope to wear the glorious crown. 

Charles W. Everest. 

Title: "Take Up Thy Cross" 

This is not so much a hymn as a ser- 
mon in verse. The text is Matthew xvi. 
24: "If any man will come after me, let 
him deny himself, and take up his cross, 
and follow me." 

From Vision of Death and Other Poems, 
by C. W. Everest; Hartford, 1845. 

The hymn has been altered in each stan- 
za, and the fourth verse, which we here 
give, has been omitted: 

Take up thy cross, then, in His strength, 
And calmly Sin's wild deluge brave : 

'Twill guide thee to a better home ; 
It points to glory o'er the grave. 

434 L. M. 

SOMETIMES the shadows are deep, 
And rough seems the path to the goal, 
And sorrows, sometimes how they sweep 
Like tempests down over the soul. 

O then to the Rock let me fly, 

To the Rock that is higher than I ; 
O then to the Rock let me fly, 

To the Rock that is higher than I. 

2 O sometimes how long seems the day, 

And sometimes how weary my feet ; 
But toiling in life's dusty way, 

The Rock's blessed shadow, how sweet ! 

3 O near to the Rock let me keep, 

If blessings or sorrows prevail ; 
Or climbing the mountain way steep, 
Or walking the shadowy vale. 

E. Johnson. 

The Scripture foundation for this hymn 
is found in Psalm Ixi. 2: "From the end 
of the earth will I cry unto thee, when 
my heart is overwhelmed: lead me to the 
rock that is higher than I." Few modern 
hymns have won their way into the hearts 



of the people more truly than this songful 
sigh of the tempest-tossed soul for refuge 
in "the Rock that is higher than I." 
Words and tune are well adapted to each 
other, and the hymn has rare power to 
comfort sad hearts. 

We have no facts concerning the origin 
of this hymn. 


S. M. 

COMMIT thou all thy griefs 
And ways into His hands, 
To his sure trust and tender care 
Who earth and heaven commands ; 

2 Who points the clouds their course, 

Whom winds and seas obey, 
He shall direct thy wandering feet, 
He shall prepare thy way. 

3 Thou on the Lord rely, 

So, safe, shalt thou go on ; 
Fix on his work thy steadfast eye, 
So shall thy work be done. 

4 No profit canst thou gain 

By self-consuming care ; 
To him commend thy cause ; his ear 
Attends the softest prayer. 

5 Thy everlasting truth, 

Father, thy ceaseless love, 
Sees all thy children's wants, and knows 
What best for each v sl l prove. 

6 Thou everywhere hast sway, 

And all things serve thy might ; 
Thy every act pure blessing is, 
Thy path unsullied light. 
Paul Gerhardt. Tr. by John Wesley. 

This is called Gerhardt's "Hymn of 
Trust.'" It is from the German, "Befiehl 
du deine wege." The translation contains 
sixteen verses. These are the first five 
and the seventh. It was doubtless writ- 
ten by him when he was suffering wrong- 
fully for "the faith which was once deliv- 
ered unto the saints." 

Wesley published this translation in 
Hymns and Sacred Poems (1739), with 
the title: "Trust in Providence." Many 
translations of this hymn have been made, 
but this is the most popular of them all. 

Gerhardt was the prince of German 
hymnists, and this is his finest hymn. 

It has comforted and inspired many sad 


L. M. 

I SHALL not want : in deserts wild 
Thou spread'st thy table for thy child ; 
While grace in streams for thirsting souls 
Through earth and heaven forever rolls. 

2 I shall not want : my darkest night 
Thy loving smile shall fill with light ; 
While promises around me bloom, • 
And cheer me with divine perfume. 

3 I shall not want : thy righteousness 

My soul shall clothe with glorious dress; 
My blood-washed robe shall be more fair 
Than garments kings or angels wear. 

4 I shall not want : whate'er is good, 
Of daily bread or angels' food, 
Shall to my Father's child be sure, 
So long as earth and heaven endure. 

Charles F. Deems. 

This is one of the best of the many 
hymns based on the twenty-third Psalm. 
(Compare it with Nos. 104 and 13« ■ It 
was written in 1872 while the author was 
pastor of the Church of the Strangers, in 
New York City. One night after going to 
bed "he found that the cares of the young 
Church followed him and depressed him. 
It seemed to make demands which he 
could not meet. To comfort himself he 
began to repeat consoling passages of 
Scripture. Then occurred to him the 
twenty-third Psalm. He repeated over 
and over: "I shall not want." It began to 
run into stanzas, and he fell asleep upon 
finishing the fourth. Next morning it was 
so vivid that he wrote it out. It has ap- 
peared in many forms, and has been re- 
published in some English collections of 

The most popular and frequently quoted 
lines the author ever wrote are the fol- 

The world is wide 

In time and tide, 

And God is guide — 
Then do not hurry. 

That man is blest 

Who does his best, 

And leaves the rest — ■ 
Then do not worry. 




S. M. 

GIVE to the winds thy fears; 
Hope, and be undismayed: 
God bears thy sighs, and counts thy tears; 
God shall lift up thy head. 

2 Through waxes, and clouds, and storms, 

He gently clears thy way ; 
Wait thou his time, so shall this night 
Soon end in joyous day. 

3 Si ill heavy is thy heart? 

Still sink thy spirits down? 
Cast oft' the weight, let fear depart, 
And every care be gone. 

4 What though thou rulest not? 

Yet heaven, and earth, and hell 
Proclaim, God sitteth on the throne, 
And ruleth all things well. 

5 Leave to his sovereign sway 

To choose and to command ; 
So shalt thou, wondering, own his way, 
How wise, how strong his hand ! 

6 Far, far above thy thought 

His counsel shall appear, 
When fully he the work hath wrought 
That caused thy needless fear. 
Paul Gerhardt. Tr. by John Wesley. 

Part of the same translation from the 
German as Hymn No. 435. These are 
stanzas nine to fourteen, unaltered. 

Gerhardt was one of the princes of Ger- 
man hymn-writers, and Wesley an incom- 
parable translator. Probably no hymn 
ever written has given more comfort to 
the afflicted or more courage to the dying. 
Its usefulness is unquestionable. 




A.Y by day the manna fell : 
O to learn this lesson well ! 
Still by constant mercy fed, 
Give me, Lord, my daily bread. 

2 "Day by day," the promise reads, 
Daily strength for daily needs : 
Cast foreboding fears away ; 
Take the manna of to-day. 

3 Lord ! my times are in thy hand : 

All my sanguine hopes have planned, 

To thy wisdom I resign, 

And would make thy purpose mine. 

4 Thou my daily task shalt give : 
Day by day to thee I live ; 

So shall added years Fulfill, 

Not my own, my Father's will. 

Josiali Conder. 

This hymn is based upon Exodus xvi. 
12-21 and also Luke xi. 3: "Give us day by 
day our daily bread." This hymn sug- 
gests the following incident: 

The pupils of Rabbi Ben Jochai once asked 
him with regard to the manna sent to the 
Israelite host in the wilderness: "Why did not 
the Lord furnish enough manna to Israel for 
a year all at one time?" "I will answer you 
with a parable," responded the teacher. "Once 
there was a king who had a son to whom he 
gave a yearly allowance, paying him the en- 
tire sum on a fixed day. It soon happened 
that the day on which the allowance was due 
was the only day in the year when the father 
ever saw his son. So the king changed his 
plan and gave his son day by day that which 
sufficed for the day. And now the son visited 
his father every morning. Thus God dealt 
with Israel." 

The author, it seems, from references 
made by his biographer, had occasion to 
practice the gospel of daily trust which 
he here puts into his song: "Never entire- 
ly out of the embarrassments of pecuniary 
struggle, the author still maintained a 
hopeful and trustful spirit." Like most 
men dependent on literature for a living, 
he knew w r hat it was to struggle for his 
daily bread. Happy is such a one if he 
has trustful faith and piety sufficient 
either to write or to sing with the heart 
a hymn so expressive of loving confidence 
in God as this beautiful hymn is. 

This hymn first appeared in the au- 
thor's Congregational Hymn Book in 1836. 
It was republished a year later in a small 
volume by him titled "The Choir and the 
Oratory," where it appeared as the fourth 
of six metrical paraphrases of different 
portions of the Lord's Prayer. It is also 
found in the author's Hymns of Praise. 
which was prepared for publication just 
before his death in 1855, but which did 
not appear until the year following. The 
last two stanzas of the original, omitted 
in our Hymnal, are: 



5 Fond ambition, whisper not ; 
Happy is my humble lot, 
Anxious, busy cares, away : 
I'm provided for to-day. 

6 Oh, to live exempt from care 
By the energy of prayer : 

Strong in faith, with mind subdued, 
Yet elate with gratitude ! 


L. M. 


LORD, how secure, and blest are they 
Who feel the joys of pardoned sin ! 
Should storms of wrath shake earth 
Their minds have heaven and peace with- 

2 The day glides sweetly o'er their heads, 

Made up of innocence and love ; 
And soft and silent as the shades, 
Their nightly minutes gently move. 

3 Quick as their thoughts their joys come on, 

But fly not half so swift away : 
Their souls are ever bright as noon, 
And calm as summer evenings be. 

4 How oft they look to the heavenly hills, 

Where groves of living pleasure grow ; 
And longing hopes, and cheerful smiles, 
Sit undisturbed upon their brow ! 

5 They scorn to seek earth's golden toys, 

But spend the day, and share the night, 
In numbering o'er the richer joys 

That Heaven prepares for their delight. 
Isaac Watts. 

Author's title: "The Pleasures of a Good 
Conscience." In the first line of the fifth 
stanza Watts wrote: "They scorn to seek 
out golden toys." 

The following additional stanza is not 
necessary to the hymn: 

6 While wretched we, like worms and moles, 

Lie groveling in the dust below, 
Almighty grace renew our souls, 
And we'll aspire to glory too. 

From Hymns and Spiritual Songs, Book 
II., 1707. 



L. M. 

HEN I can read my title clear 
To mansions in the skies, 

I bid farewell to every fear, 
And wipe my weeping eyes. 

2 Should earth against my soul engage, 

And fiery darts be hurled, 
Then I can smile at Satan's rage, 
And face a frowning world. 

3 Let cares like a wild deluge come, 

And storms of sorrow fall, 
May I but safely reach my home, 
My God, my heaven, my all : 

4 There I shall bathe my weary soul 

In seas of heavenly rest, 
And not a wave of trouble roll 
Across my peaceful breast. 

Isaac Watts. 

"The Hopes of Heaven Our Support Un- 
der Trials on Earth' 9 is the title of this in 
the author's Hymns and Spiritual Songs, 
Book II., 1707. The author wrote in 
verse two, line two, "hellish darts" in- 
stead of "fiery darts." This precious lyric 
is loved and venerated wherever the Eng- 
lish language is known. 

Cowper in his poem titled "Truth" com- 
pares the lot of the infidel Voltaire with 
that of a poor and believing cottager who 

Just knows, and knows no more, her Bible 

true — ■ 
A truth the brilliant Frenchman never knew : 
And in that charter reads, with sparkling eyes, 
Her title to a treasure in the skies. 

It is possible for the popularity of a 
hymn to lead to an excessive use of it, 
and this very popularity and over-use to 
result in and be followed by an undue de- 
preciation and nonuse of it in a later gen- 
eration. This hymn is greatly admired 
in our day as in other days, but it is now 
very rarely used in public worship. 

441 C. M. 

I'M not ashamed to own my Lord, 
Or to defend his cause ; 
Maintain the honor of his word, 
The glory of his cross. 

2 Jesus, my God ! I know his name ; 

His name is all my trust ; 
Nor will he put my soul to shame, 
Nor let my hope be lost. 

3 Firm as his throne his promise stands, 

And he can well secure 
What I've committed to his hands, 
Till the decisive hour. 



4 Then will he own my worthless name 
Before his Father's face, 
And in tin- New Jerusalem 

Appoint my soul a place. 

Isaac Watts. 

Title: "Not Ashamed of the Gospel:' It 
is based on 2 Timothy i. 12: 

1 am not ashamed ; for I know whom I 
have believed, and am persuaded that he is 
able to keep that which I have committed 
unto him against that day. 

A wholesome and useful lyric, as much 
needed now as in other days. It is unal- 
tered and entire from Hymns and Spir- 
itual Songs. Book I., 1707. 

442 C. M. 

OIT is hard to work for God, 
To rise and take his part 
Upon this battlefield of earth, 
And not sometimes lose heart ! 

2 He hides himself so wondrously, 

As though there were no God ; 
He is least seen when all the powers 
Of ill are most abroad ; 

3 Or he deserts us in the hour 

The fight is all but lost; 
And seems to leave us to ourselves 
Just when we need him most. 

4 It is not so, but so it looks ; 

And we lose courage then ; 
And doubts will come if God hath kept 
His promises to men. 

5 But right is right, since God is God ; 

And right the day must win ; 
To doubt would be disloyalty, 
To falter would be sin ! 

Frederick W. Faber. 

''The Right Must Win" is- the title of 
this lyric in the author's Hymns. 1862. 
The original contains eighteen stanzas, of 
which we have above the first, second, 
third, sixth, and eighteenth. The hymn 
beginning, "Workman of God! O lose not 
heart" (No. 392), is taken from the same 
poem. If the first stanza of the above 
hymn seems to strike a minor note and 
be unduly pessimistic, it is only that it 
may by contrast bring out all the more 

clearly and strongly the major note of 
triumphant optimism which is sounded 
in the last stanza. 


L. M. 

JESUS, and shall it ever be, 
A mortal man ashamed of thee? 
Ashamed of thee, whom angels praise, 
Whose glories shine through endless days? 

_ Ashamed of Jesus! sooner far 
Let evening blush to own a star ; 
He sheds the beams of light divine 
O'er this benighted soul of mine. 

3 Ashamed of Jesus ! just as soon 
Let midnight be ashamed of noon ; 
'Tis midnight with my soul till he, 
Bright Morning-Star, bid darkness flee. 

4 Ashamed of Jesus ! that dear friend 
On whom my hopes of heaven depend ! 
No ; when I blush, be this my shame, 
That I no more revere his name. 

5 Ashamed of Jesus ! yes, I may, 
When I've no guilt to wash away ; 
Xo tear to wipe, no good to crave, 
No fears to quell, no soul to save. 

6 Till then, nor is my boasting vain, 
Till then I boast a Saviour slain ; 
And O, may this my glory be, 
That Christ is not ashamed of me ! 

Joseph Grigg. 
Alt. by Benjamin Francis. 

'■Ashamed of Me" was the author's ti- 
tle when it first appeared in 1765. In the 
Gospel Magazine for April, 177-4, it was 
given with omissions and alterations un- 
der the title, "Shame of Jesus Conquer' d 
by Love." In the first edition of Dr. Rip- 
pon's Selection of Hymns, 1787, it is given 
with the appropriate heading: "Not 
ashamed of Christ." 

The merits of the piece belong largely 
to the original author, who composed it, 
it is said, when only ten years of age. 

Ashamed of Me. Mark viii. 38. 

1 Jesus ! and shall it ever be ! 

A mortal Man asham'd of Thee? 

Scorn'd be the Thought by Rich and Poor ; 

O may I scorn it more and more ! 

2 Asham'd of Jesus ! sooner far 
Let Ev'ning blush to own a Star. 
Asham'd of Jesus ! just as soon 

Let Midnight blush to think of Xoon. 



3 'Tis Evening with my Soul till He, 
That Morning-Star, bids Darkness flee ; 
He sheds the Beam of Noon divine 
O'er all this Midnight Soul of mine. 

4 Asham'd of Jesus ! shall yon Field 
Blush when it thinks who bids it yield? 
Yet blush I must, while I adore, 

I blush to think I yield no more. 

5 Asham'd of Jesus ! of that Friend, 

On whom, for Heaven, my Hopes depend 
It must not be — be this my Shame, 
That I no more revere His Name. 

6 Asham'd of Jesus ! yes, I may, 
When I've no Crimes to wash away ; 
No Tear to wipe, no Joy to crave, 
No Fears to quell, no Soul to save. 

7 'Till then (nor is the Boasting vain), 
'Till then, I boast a Saviour slain : 
And O may this my Portion be, 
That Saviour not asham'd of me ! 


L. M. 


Y hope, my all, my Saviour thou, 
To thee, lo, now my soul I bow ! 
I feel the bliss thy wounds impart, 
I find thee, Saviour, in my heart. 

2 Be thou my strength, be thou my way ; 
Protect me through my life's short day : 
In all my acts may wisdom guide, 
And keep me, Saviour, near thy side. 

3 In fierce temptation's darkest hour, 
Save me from sin and Satan's power ; 
Tear every idol from thy throne, 
And reign, my Saviour, reign alone. 

4 My suffering time shall soon be o'er; 
Then shall I sigh and weep no more ; 
My ransomed soul shall soar away, 
To sing thy praise in endless day. 

Author Unknown. 
This hymn has been attributed to Bish- 
op Thomas Coke, but without sufficient 
evidence. It was in the Pocket Hymn- 
Book, published by Coke and Asbury, 
which was the first hymn book used by 
American Methodism after it was organ- 
ized with the episcopal form of govern- 
ment at the "Christmas Conference" of 
1784. Mr. Wesley published a small hym- 
nal titled the Pocket Hymn-Book in Feb- 
ruary, 1785 (the preface is dated October 
1, 1784). But Robert Spence, a Methodist 
bookseller of York, had already compiled 
and published under this title a collection 

of hymns taken from various authors, 
and his book had been widely circulated 
among the Methodists. The Pocket 
Hymn-Book, which Coke and Asbury pub- 
lished in 1785, was a reprint of the book 
published by Spence at York. We owe 
the discovery of this valuable anonymous 
hymn, therefore, to Robert Spence. While 
it has always found favor with American 
Methodists, the Methodists of England, 
following the example of Mr. Wesley, have 
never given it a place in any of their of- 
ficial hymnals. Verse three, which is 
omitted above, is: 

3 Correct, reprove and comfort me, 
As I have need my Saviour be ; 
And if I would from thee depart, 
Then clasp me, Saviour, to thy heart. 

Mr. Wesley was grieved at the populari- 
ty among his people of this York hymn 
book. He pronounced fourteen of the 
hymns "very flat and dull," fourteen oth- 
ers were "prose tagged with rhyme," and 
nine more were "grievous doggerel." 
Thus early Methodism, it seems, had the 
same trouble that is being experienced by- 
modern Methodism in that the people so 
often prefer to use inferior and cheap 
popular collections rather than the more 
stately, dignified, and noble lyrics found 
in the regular official hymnals of the 
Church. If Mr. Wesley counted the above 
hymn objectionable, what would he have 
thought of many of the modern religious 
ditties that are sung in some Sunday 
schools and popular revival services? But 
we must also recognize how widely men 
who are equally good and great differ as 
to the value — both the literary and the 
spiritual value — of individual hymns. 
Nothing could show this more plainly 
than the fact here brought to light — that 
a hymn book which Mr. Wesley consid- 
ered exceedingly objectionable was adopt- 
ed by Coke and Asbury for use in Ameri- 
ca in preference to collections which Mr. 
Wesley had prepared and regarded as 
much superior. 



44."> 8, 8, 6. D. 

FEAR not, O little flock, the foe 
Who madly seeks your overthrow; 

Dread not his rage and power ; 
What though your coui'age sometimes 

His seeming triumph o'er God's saints 

Lasts but a little hour. 

_ Pear not, be strong! your cause belongs 
To him who can avenge your wrongs ; 

Leave all to him, your Lord : 
Though hidden yet from mortal eyes, 
Salvation shall for you arise ; 

He girdeth on his sword ! 

3 As true as God's own promise stands, 
Not earth nor hell with all their bands 

Against us shall prevail ; 
The Lord shall mock them from his throne ; 
God is with us ; we are his own ; 

Our victory cannot fail ! 

4 Amen, Lord Jesus, grant our prayer ! 
Great Captain, now thine arm make bare, 

Thy church with strength defend ; 
So shall thy saints and martyrs raise 
A joyful chorus to thy praise, 
Through ages without end. 

Gustavus Adolphus, in prose. 
Jacob Fabricius. Tr. by Catherine 

Hymnologists are not agreed as to the 
author of this hymn, which was the bat- 
tle song of Gustavus Adolphus, King of 
Sweden. The Dictionary of Hymnology 
gives it to Johann Michael Altenburg 
(1584-1640). Date, 1631. But Miss Wink- 
worth, the translator, in her Christian 
Singers of Germany, says: 

This hymn was long attributed to Alten- 
burg, a pastor of Thuringia. Recent research- 
es, however, seem to have made it clear that 
he composed only the chorale, and that the 
hymn itself was written down roughly by Gus- 
tavus Adolphus after his victory at Leipsic 
and reduced to regular verse by his chaplain, 
Dr. Fabricius, for the use of the army. 

The date of the battle of Leipsic is Sep- 
tember 7, 1621. Gustavus sang this hymn 
with his army before entering the battle 
of Lutzen, November 6, 1632, where he 
met a triumphant death. The Rev. Jacob 
Fabricius, D.D., chaplain of the king, lived 
from 1593 to 1654. 

Miss Winkworth's translation is found 
in Lyra Germanica, first series. This va- 
ries from that in twelve lines. 

44G s m. 

IF, on a quiet sea, 
Toward heaven we calmly sail, 
With grateful hearts, O God, to thee, 
We'll own the favoring gale. 

2 But should the surges rise, 

And rest delay to come, 
Blest be the tempest, kind the storm, 
Which drives us nearer home. 

3 Soon shall our doubts and fears 

All yield to thy control ; 
Thy tender mercies shall illume 
The midnight of the soul. 

4 Teach us, in every state. 

To make thy will our own ; 
And when the joys of sense depart, 
To live by faith alone. 

Augustus M. Toplady. Alt. 

"Weak Believers Encouraged" is the ti- 
tle of the original poem of eight double 
stanzas from which this hymn is taken, 
and which was first published in the Gos- 
pel Magazine for February, 1772. The 
above hymn is made up of selections 
taken from the last part of the second 
double stanza, the first half of the third, 
the last half of the fourth, and the last 
half of the fifth. The verbal alterations 
are numerous, as will be seen by compar- 
ing the hymn as it appears above with the 
language of the original, which is as fol- 

1 Fastened within the vail, 

Hope be your anchor strong; 
His loving Spirit the sweet gale, 
That wafts you smooth along. 

2 Or should the surges rise, 

And peace delay to come ; 
Blest is the sorrow, kind the storm 
That drives us nearer home. 

3 Soon shall our doubts and fears 

Subside at his control : 
His loving-kindness shall break through 
The midnight of the soul. 

4 Yet learn in every state, 

To make his will your own, 
And when the joys of sense depart, 
To tcalk by faith alone. ' 



The entire hymn may be found in the 
author's Works, and also in The Poetical 
Remains of Toplady, 1860. The original 
poem begins: "Your harps, ye trembling 


C. M. 


E journey through a Vale of tears, 
By many a -cloud o'ercast ; 
And worldly cares and worldly fears 
Go with us to the last. 

2 Not to the last ! Thy word hath said, 

Could we but read aright, 
"Poor pilgrim, lift in hope thy head, 
At eve it shall be light!" 

3 Though earthborn shadows now may shroud 

Thy thorny path awhile, 
God's blessed word can part each cloud, 
And bid the sunshine smile. 

4 Only believe, in living faith, 

His love and power divine ; 
And ere thy sun shall set in death, 
His light shall round thee shine. 

5 When tempest clouds are dark on high, 

His bow of love and peace 
Shines sweetly in the vaulted sky, 
A pledge that storms shall cease. 

6 Hold on thy way, with hope unchilled, 

By faith and not by sight, 
And thou shalt own his word fulfilled, 
"At eve it shall be light." 

Bernard Barton. 

The author's title was: "Hope for the 
Mourner^ It is based on Zechariah xiv. 
7: "But it shall come to pass, that at even- 
ing time it shall be light." In verse two, 
line four, the author wrote: "At eve there 
shall be light;" and in verse five, line 
four, "Betokening storms shall cease." 

These changes were made by Robert A. 
West for the Methodist Episcopal hymn 
book of 1849. 

Prom the author's Household Verses, 


7s, 6s. D. 

GOD is my strong salvation ; 
What foe have I to fear? 
In darkness and temptation, 
My light, my help, is near 

Though hosts encamp around me, 
Firm in the fight I stand ; 

What terror can confound me, 
With God at my right hand? 

2 Place on the Lord reliance; 
My soul, with courage wait ; 
His truth be thine affiance, 
When faint and desolate ; 
His might thy heart shall strengthen, 

His love thy joy increase ; 
Mercy thy days shall lengthen ; 
The Lord will give thee peace. 

James Montgomery. 

This is from the author's Songs of Zion, 
1822. It is based on the following verses 
taken from the twenty-seventh Psalm: 

The Lord is my light and my salvation ; 
whom shall I fear? the Lord is the strength 
of my life ; of whom shall I be afraid? When 
the wicked, even mine enemies and my foes, 
came upon me to eat up my flesh, they stum- 
bled and fell. Though a host should encamp 
against me, my heart shall not fear : though 
war should rise against me, in this will I be 

S. M. 

Y times are in thy hand 

My God, I wish them there ; 

My life, my friends, my soul, I leave 
Entirely to thy care. 


2 My times are in thy hand, 

Whatever they may be ; 
Pleasing or painful, dark or bright, 
As best may seem to thee. 

3 My times are in thy hand ; 

Why should I doubt or fear? 
My Father's hand will never cause 
His child a needless tear. 

4 My times are in thy hand, 

Jesus, the crucified ! 
The hand my cruel sins had pierced 
Is now my guard and guide. 

5 My times are in thy hand ; 

I'll always trust in thee ; 
And, after death, at thy right hand 
I shall forever be. 

William F. Lloyd. 

Written upon Psalm 
times are in thy hand." 
fifth, has been omitted. 

xxxi. 15: "My 
One stanza, the 



o My times are in thy hand : 
Jesus, my Advocate : 
Noi shall Thine hand be stretched in vain, 
For me to supplicate. 

It lias not been altered. From Thoughts 
in Rhyme, by W. F. Lloyd, London, 1851. 
In the same volume we find a brief but 
comprehensive poem entitled, "Trust in 
God." It is well worth quoting: 

Each future scene to God I have, 

Enough for me to know. 
He can from every evil save, 

And every good bestow. 

This hymn first appeared in the Tract 
Magazine, March, 1824. 

450 C. M. 

I LITTLE see, I little know, 
Yet can I fear no ill ; 
He who hath guided me till now 
Will be my leader still. 

2 No burden yet was on me laid 

Of trouble or of care, 
But he my trembling step hath stayed, 
And given me strength to bear. 

3 I know not what beyond may lie, 

But look, in humble faith, 
Into a larger life to die, 

And find new birth in death. 

4 He will not leave my soul forlorn ; 

I still must find him true, 
Whose mercies have been new each morn 
And every evening new. 

5 Upon his providence I lean, 

As lean in faith I must ; 
The lesson of my life hath been 
A heart of grateful trust. 

6 And so my onward way I fare 

With happy heart and calm, 
And mingle with my daily care 
The music of my psalm. 

Frederick L, Hosmer. 

"A Psalm of Trust" is the title of this 
hymn, which was written in 1883 and was 
first published in the Christian Register, 
of Boston. It also appeared later in the 
author's volume titled The Thought of 
God in Flymns and Poems, first series, 
1883, where it has nine stanzas. Tenny- 

son"s "In Memoriam" called forth by the 
death of his dearest friend, has in it noth- 
ing more tender and beautiful concerning 
departed loved ones than the following 
verses by Dr. Hosmer, the last two lines 
being especially beautiful: 

I cannot think of them as dead 
Who walk with me no more; 

Along the path of life I tread 
They have but gone before : 

And still their silent ministry 
Within my heart hath place, 

As when on earth they walked with me, 
And met me face to face. 

Their lives are made forever mine ; 

What they to me have been 
Hath left henceforth its seal and sign 

Engraven deep within : 

Mine are they by an ownership 
Nor time nor death can free ; 

For God hath given to love to keep 
Its own eternally. 



8s, 4s. 

Y bark is wafted to the strand 

By breath divine, 
And on its helm there rests a hand 

Other than mine. 

2 One who was known in storms to sail 

I have on board ; 
Above the roaring of the gale 
I hear my Lord. 

3 Safe to the land ! safe to the land ! 

The end is this, 
And then with him go hand in hand, 
Far into bliss. 

Henry Alford. 

Title: "Resignation." It was written in 
1862 and printed in Macmillan's Magazine 
in 1863. Seven stanzas. These are the 
fourth, fifth, and seventh. 

To appreciate the faith and trust of 
this hymn we must have the preceding 
verses : 

1 I know not if or dark or bright 

Shall be my lot ; 
If that wherein my hopes delight 
Be best or not. 

2 It may be mine to drag for years 

Toil's heavy chain, 
Or day and night my meat be tears 
On bed of pain. 



3 Dear faces may surround my health 
With smiles and glee, 
Or I may dwell alone, and mirth 
Be strange to me. 

452 7s, 6s. D. 

IN heavenly love abiding, 
Xo change my heart shall fear ; 
And safe is such confiding, 

For nothing changes here. 
The storm may roar without me, 

My heart may low be laid, 
But God is round about me, 
And can I be dismayed? 

2 Wherever he may guide me, 

No want shall turn me back ; 
My Shepherd is beside me, 

And nothing can I lack. 
His wisdom ever waketh, 

His sight is never dim, 
He knows the way he taketh, 

And I will walk with him. 

3 Green pastures are before me, 

Which yet I have not seen ; 
Bright skies will soon be o'er me, 

Where darkest clouds have been. 
My hope I cannot measure, 

My path to life is free, 
My Saviour has my treasure, 

And he will walk with me. 

Anna L. Waring. 

This is from the author's Hymns and 
Meditations, 1850, where it bears the title, 
"Safety in God" It is based on Psalm 
xxiii. 4: "I will fear no evil, for thou art 
with me." 

A faith like that embodied in this beau- 
tiful hymn makes a heaven of this life 
and turns earth into a paradise. 


453 6, 4, 6, 4, 6, 6, 4. 

O, not despairingly 
Come I to Thee ; 

No, not distrustingly 
Bend I the knee : 

Sin hath gone over me, 

Yet is this still my plea, 
Jesus hath died. 

2 Ah ! mine iniquity 

Crimson hath been, 
Infinite, infinite 

Sin upon sin ; 
Sin of not loving thee, 
Sin of not trusting thee, 

Infinite sin. 

3 Lord, I confess to thee 

Sadly my sin ; 
All I am tell I thee, 

All I have been : 
Purge thou my sin away, 
Wash thou my soul this day ; 

Lord, make me clean. 

4 Faithful and just art thou, 

Forgiving all ; 
Loving and kind art thou 

When poor ones call. 
Lord, let the cleansing blood, 
Blood of the Lamb of God, 

Pass o'er my soul. 

5 Then all is peace and light 

This soul within ; 
Thus shall I walk with thee, 

The loved Unseen ; 
Leaning on thee, my God, 
Guided along the road, 

Nothing between. 

Horatius Bonar. 

Author's title: ''Confession and Peace." 
It is unaltered and complete from Hymns 
of Faith and Hope, by Horatius Bonar, 
D.D. Third series, 1867. 

The exceeding sinfulness of sin is well 
brought out in the second verse and frank- 
ly confessed in the third. Forgiveness 
and cleansing are expressed in the fourth 
stanza, and the happy results in the last. 
It is one of Dr. Bonar's most successful 

454 7s, 6s. D. 

SOMETIMES a light surprises 
The Christian while he sings ; 
It is the Lord who rises 

With healing on his wings ; 
When comforts are declining, 

He grants the soul again 
A season of clear shining, 
To cheer it after rain. 

2 In holy contemplation, 

We sweetly then pursue 
The theme of God's salvation, 

And find it ever new : 
Set free from present sorrow, 

We cheerfully can say, 
Let the unknown to-morrow 

Bring with it what it may. 

3 It can bring with it nothing 

But he will bear us through ; 
Who gives the lilies clothing. 
Will clothe his people too ; 

2: IS 


Beneath the spreading heavens 

No creature but is fed ; 
And he who feeds the ravens 
Will give his children bread. 

4 Though vine nor fig tree neither 
Their wonted fruit should bear, 
Though all the fields should wither, 

Nor flocks nor herds be there; 
Yet God the same abiding, 

His praise shall tune my voice ; 
For while in him confiding, 
I cannot but rejoice. 

William Cowper. 

From the Olney Hymns, 1779, where it 
bears the title, "Joy and Peace in Believ- 
ing." The third stanza is based on cer- 
tain familiar verses found in the Sermon 
on the Mount (Matt, vi.), while the fourth 
stanza is a paraphrase of Habakkuk iii. 
17, 18: 

Although the fig tree shall not blossom, 
neither shall fruit be in the vines ; the labor 
of the olive shall fail, and the fields shall 
yield no meat ; the flock shall be cut off from 
the fold, and there shall be no herd in the 
stalls ; yet I will rejoice in the Lord, I will 
joy in the God of my salvation. 


C. M. 


HEN musing sorrow weeps the past, 
And mourns the present pain, 

Tis sweet to think of peace at last, 
And feel that death is gain. 

2 'Tis not that murmuring thoughts arise, 

And dread a Father's will ; 
'Tis not that meek submission flies, 
And would not suffer still : 

3 It is that heaven-born faith surveys 

The path that leads to light, 
And longs her eagle plumes to raise, 
And lose herself in sight : 

4 It is that hope with ardor glows, 

To see Him face to face, 
Whose dying love no language knows 
Sufficient art to trace. 

5 O let me wing my hallowed flight 

From earthborn woe and care, 
And soar above these clouds of night, 
My Saviour's bliss to share ! 

Gerard T. Noel. 

This hymn came into the Hymnal from 
the hymn book of the Methodist Episcopal 

Church, South. It dates back to 1813 or 
earlier. Christian hope rings in every 
stanza of this worthy lyric. 

450 L- M. 

DEEM not that they are blest alone 
Whose days a peaceful tenor keep ; 
The anointed Son of God makes known 
A blessing for the eyes that weep. 

2 The light of smiles shall fill again 

The lids that overflow with tears ; 
And weary hours of woe and pain 
Are promises of happier years. 

3 There is a day of sunny rest 

For every dark and troubled night ; 

And grief may bide an evening guest, 

But joy shall come with early light. 

4 Nor let the good man's trust depart, 

Though life its common gifts deny, 
Though with a pierced and broken heart, 
And spurned of men, he goes to die. 

5 For God has marked each sorrowing day, 

And numbered every secret tear ; 
And heaven's long age of bliss shall pay 
For all his children suffer here. 

William C. Bryant. 

Copyright, D. Appleton & Co. 

"Blessed Are They That Mourn" is the 
title the author gave to this hymn. It 
was written in 1820 for a collection to be 
used in a Church in New York City of 
which Rev. William Ware at that time, 
and Dr. Bellows later, was pastor. The 
author changed the third line of the first 
verse two or three times. The form giv- 
en above was his last revision. One stan- 
za, the fourth, is omitted here: 

And thou who o'er thy friends' low bier, 
Sheddest the bitter drops like rain, 

Hope that a brighter, happier sphere 
Will give him to thy arms again. 

457 L- M. 

OLOVE divine, that stooped to share 
Our sharpest pang, our bitterest tear ! 
On thee we cast each earthborn care ; 
We smile at pain while thou art near. 

2 Though long the weary way we tread, 
And sorrow crown each lingering year, 
No path we shun, no darkness dread, 

Our hearts still whispering, Thou art 
near ! 



3 When drooping pleasure turns to grief, 

And trembling faith is changed to fear, 
The murmuring wind, the quivering leaf, 
Shall softly tell us, Thou art near ! 

4 On thee we fling our burdening woe, 

O Love divine, forever dear ; 
Content to suffer while we know, 
Living and dying, thou art near ! 

Oliver W. Holmes. 

Copyright, Houghton, Mifflin & Co. 

The author's title was "Hymn of 
Trust," and it justifies its name, for it is 
full of faith and love. 

It is unaltered and entire as found in 
the author's Poems, 1862. 


8s, 7s. D. 

JESUS, I my cross have taken, 
All to leave, and follow thee ; 
Destitute, despised, forsaken, 

Thou, from hence, my all shalt be : 
Perish every fond ambition, 

All I've sought, and hoped, and known ; 
Yet how rich is my condition, 

God and heaven are still my own ! 

2 Let the world despise and leave me, 

They have left my Saviour, too ; 
Human hearts and looks deceive me ; 

Thou art not, like man, untrue ; 
And, while thou shalt smile upon me, 

God of wisdom, love, and might, 
Foes may hate, and friends may shun me ; 

Show thy face, and all is bright. 

3 Man may trouble and distress me, 

'Twill but drive me to thy breast ; 
Life with trials hard may press me, 

Heaven will bring me sweeter rest. 
O 'tis not in grief to harm me, 

While thy love is left to me; 
O 'twere not in joy to charm me, 

Were that joy unmixed with thee. 

4 Haste thee on from grace to glory, 

Armed by faith, and winged by prayer ; 
Heaven's eternal day's before thee, 

God's own hand shall guide thee there. 
Soon shall close thy earthly mission, 

Swift shall pass thy pilgrim days, 
Hope shall change to glad fruition, 

Faith to sight, and prayer to praise. 

Henry F. Lyte. 

This first appeared in a volume titled 
Sacred Poetry, Edinburgh, 1824, where it 
bore the title, "Lo! we have left all and 

followed Thee,'' and had the letter "G" 
signed to it. In view of this signature, 
its authorship might have remained un- 
known but for its appearance in Lyte's 
Poems Chiefly Religious, 1833. The orig- 
inal has six double stanzas. The third 
and fifth stanzas, omitted above, are as 

3 Go, then, earthly fame and treasure ; 

Come disaster, scorn, and pain ; 
In thy service pain is pleasure ; 

With thy favor loss is gain. 
I have called thee, Abba, Father, 

I have set my heart on thee : 
Storms may howl, and clouds may gather ; 

All must work for good to me. 

5 Take, my soul, thy full salvation ; 

Rise o'er sin, and fear, and care ; 
Joy to find in every station 

Something still to do or bear. 
Think what Spirit dwells within thee ; 

Think what Father's smiles are thine ; 
Think that Jesus died to win thee : 

Child of heaven, canst thou repine? 

In Henry Ward Beecher's sermon on 
"The Supreme Allegiance" there is an im- 
pressive reference to the supposed origin 
of this hymn: 

Sometimes parents are very worldly-mind- 
ed. There are hundreds and thousands of 
people in the world who have just religion 
enough not to have any at all. They say : 
"We believe in religion ; but it is a reasonable, 
rational religion. This is a good world, and 
God has given the bounties of this world to 
enjoy. Therefore let us eat and drink and 
praise God by being happy." And so party 
after party and dance after dance follow. 
They want society to be radiant and spar- 
kling; and for them anything but a religion 
that disturbs their brilliant, sparkling life. 
Under such circumstances, a child much 
loved and beautiful, just at the time when the 
father and mother have anticipated that she 
would come out and create a sensation in the 
social world and walk easily a queen, is vex- 
atiously convicted and converted. And there 
comes the trouble. ' If it had not been for 
that Methodist meeting, if it had not been for 
that ranting preacher over there, it would 
pot have happened. Here is the child that 
was the joy of their hearts and the pride of 
their life, and that was to form such a splen- 
did connection, carried away with religious 
excitement. And all their hopes are crushed. 



The father is in a rage, and the mother is in 
gfrief, and they will not have it so. The 
child, with simple modesty, is patient but 
tenacious, and cures storms in the outer cir- 
cle by the deep peace which God gives the 
soul In the closet. She is still loving and 
more obedient than ever, but she is true to 
her own inward love. Having tasted the bet- 
ter portion, she will not give it up. 

And so great has sometimes been the rage 
of the father that he has actually driven his 
child from his door and disinherited her. It 
was just such a case that gave birth to one 
of our most touching hymns. I could almost 
wish that there might be more persons driven 
out from home under such circumstances. 
The child of a wealthy man in England, who 
had all his earthly hopes fixed on her, return- 
ing from a ball, heard a Methodist meeting 
going on and went in ; and the recital of 
what the love of Christ had done for various 
persons charmed her, and by the blessing of 
God's Spirit she was converted. And when 
she made known her faith and purpose, her 
father cast her off, and she was obliged to go 
away from home. And from that circum- 
stance came this hymn. 

We reproduce this interesting passage 
from Mr. Beecher's sermon, but we are 
compelled to follow it by the statement 
that evidence is lacking that this hymn 
had such an origin as he describes. In 
1818 Lyte, the author, underwent a re- 
markable spiritual experience, quite suf- 
ficient to prepare him for writing such a 
hymn as this. Of course it is possible 
that some such incident as Mr. Beecher 
refers to may have occurred, and that 
Lyte may have heard of it and made it 
the occasion of writing the hymn. But 
we have no well-authenticated evidence 
that such was the case. It is, however, 
an interesting story, even though it is re- 
garded by hymnologists as nothing more 
than one of the many beautiful and popu- 
lar "hymn-myths" that are ever and anon 
published in religious periodicals. 


L. M. 61. 

LEADER of faithful souls, and Guide 
Of all that travel to the sky, 
Come and with us, e'en us, abide, 
Who would on thee alone rely; 

On thee alone our spirits stay, 
While held in life's uneven way. 

2 Strangers and pilgrims here below. 

This earth, we know, is not our place : 
But hasten through the vale of woe, 

And, restless to behold thy face, 
Swift to our heavenly country move, 
Our everlasting home above. 

3 We've no abiding city here, 

But seek a city out of sight ; 
Thither our steady course we steer, 

Aspiring to the plains of light, 
Jerusalem, the saints' abode, 
Whose founder is the living God. 

4 Patient the appointed race to run, 

This weary world we cast behind ; 
From strength to strength we travel on, 

The new Jerusalem to find : 
Our labor this, our only aim, 
To find the new Jerusalem. 

5 Through thee, who all our sins hast borne, 

Freely and graciously forgiven, 
With songs to Zion we return, 

Contending for our native heaven ; 
That palace of our glorious King, 
"We find it nearer while we sing. 

6 Raised by the breath of love divine, 

We urge our way with strength renewed ; 
The church of the firstborn to join, 

We travel to the mount of God ; 
With joy upon our heads arise, 
And meet our Saviour in the skies. 

Chai'les Wesley. 

Original title: "The Traveler." Two 
stanzas, the fifth and seventh, have been 

5 Thither in all our thoughts we tend, 
And still with longing eyes look up, 
Our hearts and prayers before us send, 
Our ready scouts of faith and hope, 
Who bring us news of Sion near, 
We soon shall see the towers appear. 

7 Even now we taste the pleasures there, 

A cloud of spicy odors comes, 
Soft wafted by the balmy air, 

Sweeter than Araby's perfumes; 
From Sion's top the breezes blow, 
And cheer us in the vale below. 

In the last line of the hymn the author 
wrote "Captain" instead of "Saviour." 

From Hymns for Those that Seek and 
Those that Have Redemption in the Blood 
of Jesus Christ. London, 1747. 



It will make an interesting and profit- 
able hymn study to compare this hymn 
carefully with the following hymn by 
Cardinal Newman, and note how much 
more confident is Charles Wesley's faith 
and his prayer for divine guidance than 
that which characterizes the more popu- 
lar hymn of the Roman Catholic Cardinal. 

460 10, 4, 10, 4, 10, 10. 

LEAD, kindly Light, amid th' encircling 

Lead thou me on ! 
The night is dark, and I am far from home ; 

Lead thou me on ! 
Keep thou my feet ; I do not ask to see 
The distant scene ; one step enough for me. 

2 I was not ever thus, nor prayed. that thou 

Shouldst lead me on ; 
I loved to choose and see my path ; but now 

Lead thou me on ! 
I loved the garish day, and, spite of fears, 
Pride ruled my will. Remember not past 
years ! 

3 So long thy power hath blest me, sure it 


Will lead me on 
O'er moor and fen, o'er crag and torrent, 

The night is gone, 
And with the morn those angel faces smile, 
Which I have loved long since, and lost 
awhile ! 

John H. Neivman. 

This is a hymn that has a history and 
that has been helping to make history 
ever since John B. Dykes, in August, 1865, 
set it to music in the beautiful tune 
called "Lux Benigna" wedded to which it 
has gone forth as an evangel of faith and 
love into all lands, singing itself into 
hearts that sigh for divine light and lead- 
ership in a sin-darkened world. It easily 
takes rank among the great hymns of the 
modern Church. The prominence of the 
author as a Churchman and theologian, 
first as one of the leaders in what is 
known as the Oxford Tractarian Move- 
ment in the Church of England, and later 
as a Cardinal in the Roman Catholic 
Church, has added to the intrinsic merits 
of the hymn and has helped to give it a 

prominence and popularity in hymnology 
such as can be attained by few hymns. 

This hymn was born in a peculiar and 
exceptional sense out of the author's ex- 
perience at the time it was written. It 
was written Sunday, June 16, 1833, while 
he was traveling for his health. He was 
lying, sick in mind as well as body, on the 
deck of a sail vessel that was becalmed 
for a whole week in the Straits of Boni- 
facio, in the Mediterranean Sea. He was 
in wretched health at the time and deep- 
ly depressed over the disturbed condition 
of affairs in both Church and State in En- 
gland; and, feeling deeply that he must 
do something himself, he was longing for 
light and guidance. These verses were 
written as a prayer simply to express the 
deep yearnings of his own soul and with 
no thought whatever of their ever being 
used as a hymn in public worship. They 
were first published in the British Maga- 
zine for March, 1834, with the title, 
"Faith — Heavenly Leadings." and again 
in 1836 in Lyra Apostolica, with the mot- 
to, "Unto the godly there ariseth up light 
in the darkness." In the author's Occa- 
sional Verses, 1868, it appears with the ti- 
tle, "The Pillar of the Cloudy 

Cardinal Newman sets forth at consid- 
erable length in his remarkable and ex- 
ceedingly interesting autobiography ti- 
tled, Apologia pro Vita Sua, published in 
1864 (pages 94-100), the series of facts 
and experiences preceding, accompanying, 
and following the writing of this now 
world-famous and historic hymn. The ex- 
tract is too lengthy to be quoted here. 
Hymn students have been curious to 
know whether the author was at the time 
he wrote this hymn contemplating the 
great change that later took place in his 
Church relationship and whether his de- 
cision to make this change was reached 
under what he regarded as an answer to 
the prayer for divine guidance embodied 
in this hymn. Many have also been inter- 
ested f o know to whom the "angel faces," 
"loved long since and lost awhile," re- 



ferred. The first of these questions is an- 
swered in part by the author as follows: 

I will say, whatever comes of saying it, for 
I leave inferences to others, that for years 

I must have had something of a habirual no- 
tion, though it was latent and had never led 
me to distrust my own convictions, that my 
mind had not found its ultimate rest, and 
that in some sense or other I was on a jour- 
ney. During the same passage across the 
Mediterranean in which I wrote "Lead, Kind- 
ly Light," I also wrote verses which are 
found in the Lyra under the head of "Provi- 
dences," beginning, "When I look back." This 
was in 1S33 ; and since I have begun this nar- 
rative I have found a memorandum under the 
date of September 7, 1S29, in which I speak 
of myself as "now in my room in Oriel Col- 
lege, slowly advancing, etc., and led on by 
God's hand blindly, not knowing whither he 
is taking me." 

When questioned in 1S79 by Dr. Green- 
hill as to the significance of the reference 
in the last two lines of the hymn, he re- 
plied as follows: 

hymns, in their varying power to impress 
and inspire different individuals. What 
profoundly appeals to and inspires one 
man may utterly fail to impress another. 
Even hymnologists differ greatly in their 
estimate of both the poetic and the devo- 
tional value of different hymns. 

Those who desire to see the effects which 
high culture may have on hymn-production 
should compare "Lead, kindly Light, amid 
th' encircling gloom," with the hymn on the 
same subject, "Guide me, O thou great Jeho- 
vah," by the Welsh writer, W. Williams 
(probably the only Welsh hymn which has 
found its way into popular use in English), 
but which has been largely supplanted by the 
more poetic hymn of Cardinal Newman. 
This is to be accounted for by the greater 
tenderness of the more recent hymn. 

So writes W. G. Horder in his Hymn 
Lover. And yet hear what W. T. Stead, 
author of Hymns That Have Helped, has 
to say: 

You flatter me by your question ; but I 
think it was Keble who, when asked it in his 
own case, answered that poets were not 
bound to be critics or to give a sense to what 
they had written. And though I am not. like 
him, a poet, at least I may plead that I am 
not bound to remember my own meaning, 
whatever it was, at the end of almost fifty 
years. Anyhow, there must be a statute of 
limitation for writers of verse or it would be 
quite tyranny if in an art which is the ex- 
pression not of truth, but of imagination and 
sentiment, one were obliged to be ready for 
examination on the transient states of mind 
which came upon one when homesick or sea- 
sick or in any other way sensitive or excited. 

The widespread popularity of this 
hymn is ample testimony to the fact that 
most Christian pilgrims have days of 
deep depression and heart-longings for 
light and divine guidance in the path of 
duty similar to those which called forth 
this plaintive prayer from the author; 
and they are glad to use in their own de- 
votions a prayer-song that so truly ex- 
presses their own sentiments and long- 
ings. Nowhere, perhaps, are the mental 
and spiritual tastes of different individu- 
als more noticeable than in a study of 

For those who have been brought up on 

the Bible, and who have never suffered the 
I bewilderment of the Agnostic, this famous 

Welsh hymn in its English dress is worth a 
I hundred "Lead, Kindly Lights." The last 
j verse especially has been the comfort of many 
! a dying Christian, and it has been sung and is 
| still being sung around deathbeds, to the ac- 
j companiment of heart-choking sobs and 

streaming tears. Here is a hymn that has 

helped indeed. 

Thus to one man this hymn represents 
"the blind groping in the dark, in loneli- 
ness and helplessness," being far less 
helpful than Charles Wesley's hymn be- 
ginning, "Leader of faithful souls" (No. 
459), whereas to another it proves to be 
the very "kindly light" he needs to guide 
his bewildered mind and heart to the true 
and perfect Light of life. Thus a Scotch- 
man writes: 

My spiritual experience has been varied. 
I was baptized in the Roman Catholic Church, 
brought up in the Congregational Independ- 
ent, and at length I was fascinated by the his- 
tory, energy-, and enthusiasm of the Wesley- 
ans. I was at one time a local preacher in 
that body with a view to entering the regular 
ministry. But my fervid fit of exaltation was 



choked with the dusty facts of life and smol- 
dered down into a dry indifference. I sought 
nourishment in secularism and agnosticism, 
but found none. I was in the slough of de- 
spond, at the center of indifference, with the 
everlasting "no" on my lips, when "Lead, 
kindly Light, amid th' encircling gloom," 
came to my troubled soul like the voice of an- 
gels. Wandering in the wilderness, "o'er 
moor and fen, o'er crag and torrent," New- 
man's hymn was to me a green oasis, a heal- 
ing spring, the shadow of a great rock. 
Through the light and power of God I was 
led to light and love in Christ in a way I had 
never before known or experienced. 

Bishop Bickersteth, feeling, as many 
others have done, that the hymn lacks a 
true climax, undertook to supply the need 
with a verse of his own composition, 
which he published with the explanation 
that it "was added by the editor from a 
sense of need and from a deep conviction 
that the heart of the belated pilgrim can 
only find rest in the Light of Light." 
Bishop Bickersteth's verse is as follows: 

Meantime, along the narrow, rugged path, 

Thyself hast trod, 
Lead, Saviour, lead me home in childlike 

Home to my God, 
To rest forever after earthly strife 
In the calm light of everlasting life. 

461 us 

HOW firm a foundation, ye saints of the 
Is laid for your faith in his excellent word ! 
What more can he say than to you he hath 

To you who for refuge to Jesus have fled? 

2 In every condition — in sickness, in health ; 
In poverty's vale, or abounding in wealth ; 
At home and abroad ; on the land, on the 

sea — 
"As thy days may demand, shall thy 
strength ever be. 

3 Fear not, I am with thee, O be not dis- 

For I am thy God, and will still give thee 

aid ; 
I'll strengthen thee, help thee, and cause 

thee to stand, 
Upheld by my righteous, omnipotent hand. 

4 When through the deep waters I call thee 

to go, 
The rivers of woe shall not thee overflow ; 
For I will be with thee thy troubles to 

And sanctify to thee thy deepest distress. 

5 When through fiery trials thy pathway 

shall lie, 
My grace, all-sufficient, shall be thy supply, 
The flame shall not hurt thee ; I only de- 
Thy dross to consume, and thy gold to re- 

6 E'en down to old age all my people shall 

My sovereign, eternal, unchangeable love ; 
And when hoary hairs shall their temples 

Like lambs they shall still in my bosom be 


7 The soul that on Jesus still leans for re- 

I will not, I will not desert to his foes ; 
That soul, though all hell should endeavor 

to shake, 
I'll never, no never, no never forsake !" 

R. Keene. 

Scripture motto, 2 Peter i. 4: "Exceed- 
ing great and precious promises." A fa- 
mous and confident hymn. It appeared in 
Dr. Rippon's Selection,' first edition, 1787, 
seven stanzas, marked "K ." 

Slight changes have been made in three 
lines. The original in verse one, line 
four, is: 

You who unto Jesus for refuge have fled. 

Verse three, line two: 
/, I am thy God, and will still give thee aid. 

Verse seven, line one: 

The soul that on Jesus liath lean'd for repose. 

The authorship of this hymn was at- 
tributed to George Keith, a London pub- 
lisher, about thirty years ago without 
sufficient warrant — indeed, with no rea- 
son except that the name begins with K. 
Other names are found in some hymn 
books — "Kirkham" and "Kennedy" — but 
these were only similar guesses. 

In 1886 Rev. H. L. Hastings, of Boston, 
while in London looked up the Tune Book 
used with Rippon's Selection and found 



that this hymn was commonly sung to the 
tune "Geard," which was composed by R. 
Keene, at one time a leader of the sing- 
ing In Dr. Rippon's church. 

It has long been a custom for compos- 
ers who write both words and music to 
put their names to the music only or to 
put the name to the music and their ini- 
tials, sometimes reversed or otherwise 
disguised, to the words. 

Mr. Hastings still had some doubts as 
to the authorship, yet he comes to this 
conclusion: "In view of all the facts, we 
think we may consider the question set- 
tled and definitely assign the authorship 
of the hymn, 'How r firm a foundation, ye 
saints of the Lord,' to R. Keene, a pre- 
centor in Dr. Rippon's church and the 
author of the tune 'Geard,' to w T hich it 
was sung." 

Dr. Julian, in his Dictionary of Hym- 
nology, reasoning from different premi- 
ses, comes to the same conclusion. 

The last line of the hymn is based upon 
Hebrews xiii. 5, "I will never leave thee, 
nor forsake thee," which in the Greek is 
much more emphatic. A footnote to the 
last line of the hymn as given in Rip- 
pon's Selection says: "Agreeable to Dr. 
Doddridge's translation of Hebrews xiii. 
5." The reference is to The Family Ex- 
positor, a famous book in its day, where 
Doddridge paraphrased the passage in 
this manner: "I will not. I icill not leave 
thee. I will never, never, never forsake 

463 lls > 10s - 

COME unto Me, when shadows darkly gath- 
When the sad heart is weary and dis- 
Seeking for comfort from your heavenly 
Come unto me, and I will give you rest. 

2 Large are the mansions in thy Father's 
Glad are the homes that sorrows never 
dim ; 

Sweet are the harps in holy music swelling, 
Soft are the tones which raise the heav- 
enly hymn. 

3 There, like an Eden blossoming in glad- 
Bloom the fair flowers the earth too 
rudely pressed ; 
Come unto me, all ye who droop in Badness, 
Come unto me, and I will give you rest. 
Catherine H. E sling. 

This hymn, which was written by Miss 
Catherine H. Watterman, of Philadel- 
phia, the year before her marriage to Mr. 
George J. Esling, was first published in 
an annual called The Christian Keepsake. 
1839, where it bore the title, "Come Unto 
Me." It is based on Matthew xi. 28: 
"Come unto me, all ye that labor and are 
heavy-laden, and I w r ill give you rest. ' 
The original contains nine stanzas, the 
above being composed of the third, eighth, 
and ninth stanzas, slightly altered. 




JESUS, Lover of my soul, 
Let me to thy bosom fly, 
While the nearer w r aters roll, 

While the tempest still is high ! 
Hide me, O my Saviour, hide, 

Till the storm of life be past ; 
Safe into the haven guide, 

receive my soul at last ! 

2 Other refuge have I none ; 

Hangs my helpless soul on thee : 
Leave, ah ! leave me not alone, 

Still support and comfort me : 
All my trust on thee is stayed, 

All my help from thee I bring ; 
Cover my defenseless head 

With the shadow of thy wing. 

3 Thou, O Christ, art all I want ; 

More than all in thee I find ; 
Raise the fallen, cheer the faint, 

Heal the sick, and lead the blind. 
Just and holy is thy name, 

1 am all unrighteousness ; 
False and full of sin I am, 

Thou art full of truth and grace. 

4 Plenteous grace with thee is found, 

Grace to cover all my sin : 
Let the healing streams abound ; 
Make and keep me pure within. 



Thou of life the fountain art, 
Freely let me take of thee : 

Spring thou up within my heart, 
Rise to all eternity. 

Charles Wesley. 

The original title was: "In Tempta- 
tion." From Hymns and Sacred Poems, 

This is one of the most popular and be- 
loved hymns in the language. Its only- 
rival for the very first place is "Rock of 
Ages," and some critics would place it he- 
fore that. 

One stanza, the third, has been omit- 

3 Wilt Thcu not regard my call? 

Wilt Thou not accept my prayer? 
Lo ! I sink, I faint, I fall— 

Lo ! on Thee I cast my care : 
Reach me out Thy gracious hand ! 

While I of Thy strength receive, 
Hoping against hope I stand, 

Dying, and, behold, I live ! 

Only one little word has been changed. 
Wesley wrote in the first stanza: 

Till the storm of life is past. 

The change of "is" to "be" is an uncalled- 
for and unjustifiable refinement. 

When it first came into general use, 
editors made many changes in the first 
lines; but recent compilers have returned 
to the original as, on the whole, the best 

Hymn Studies, first published in 1884, 

There are several stories concerning the 
origin of this hymn. One is that a meeting 
of the Wesley brothers was broken up by a 
mob. They took refuge in a springhouse. 
There the author, inspired by gratitude for 
their providential escape, wrote the hymn 
with a piece of lead which he hammered into 
a pencil. Another is that the writer was one 
day sitting at an open window, when a little 
bird, pursued by a hawk, flew in and took 
refuge in the poet's bosom. This incident, it 
is said, suggested the hymn. Neither of these 
stories can be verified. They are doubtless 
pure myths. The original title gives us some 
light, and the omitted stanza, especially in 
connection with the first verse, shows that 
some of the imagery and language of this 

hymn were borrowed from the story of Pe- 
ter's attempt to walk on the Sea of Galilee. 
(Matt. xiv. 28-31.) The author's genius and 
his rough experience on the Atlantic account 
for the rest. 

The mob story continues to be serenely 
told, but the fact is that the hymn was 
written in 1739, about the time of the or- 
ganization of the first little "societies" of 
Methodists and before the period of mobs. 

Dr. Duffield, the author of "Stand up, 
stand up for Jesus," says: 

One of the most blessed days of my life 
was when I found, after my harp had hung 
on the willows, that I could sing again ; that 
a new song was put into my mouth ; and 
when, ere I was aware, I was singing "Jesus, 
Lover of my soul." 

This hymn was a great favorite with 
the English Methodist, Hugh Price 
Hughes, who died suddenly in 1902. He 
requested that the line, "Thou, O Christ, 
art all I want," be inscribed on his tomb- 

Henry Ward Beecher said: 

1 would rather have written that hymn of 
Wesley's, "Jesus, Lover of my soul," than to 
have the fame of all the kings that ever sat 
on the earth. It is more glorious. It has 
more power in it. That hymn will go on sing- 
ing until the last trump brings forth the an- 
gel band ; and then, I think, it will mount up 
on some lip to the very presence of God. 

464 7s, 6s. 

SLOWLY, slowly darkening 
The evening hours roll on ; 
And soon behind the cloudland . 
Will sink my setting sun. 

2 Around my path life's mysteries 

Their deepening shadows throw ; 
And as I gaze and ponder, 
They dark and darker grow. 

3 But there's a voice above me 

Which says, "Wait, trust, and pray ; 
The night will soon be over, 

And light will come with day." 

4 Father ! the light and darkness 

Are both alike to thee ; 

Then to thy waiting servant, 

Alike they both shall be. 



5 The great unending" future, 
I cannot pierce its shroud; 
Yet nothing doubt, nor tremble, 
God's bow is on the cloud. 

G To him I yield my spirit ; 
On him I lay my load ; 
F< ar (lids with death; beyond it 
I nothing see but God. 

7 Thus moving toward the darkness 
I calmly wait his call, 
Now seeing, fearing — nothing ; 
But hoping, trusting — all ! 

Samuel Greg. 

This hymn was written in September, 
1868, in the midst of great affliction, and 
titled, "The Mystery of Life." The origi- 
nal contains eleven stanzas. It was pub- 
lished in 1877 in a posthumous volume 
containing addresses and short poems by 
the author, which bore the title, A Lay- 
man's Legacy. 

This is a hymn of rare power to 
strengthen faith in hours of darkness and 


C. M. 61. 

FATHER, I know that all my life 
Is portioned out for me ; 
The changes that are sure to come 

I do not fear to see ; 
I ask thee for a, present mind 
Intent on pleasing thee. 

2 I ask thee for a thoughtful love, 

Through constant watching wise, 
To meet the glad with joyful smiles, 

And wipe the weeping eyes ; 
A heart at leisure from itself, 

To soothe and sympathize. 

3 I would not have the restless will 

That hurries to and fro, 
Seeking for some great thing to do, 

Or secret thing to know ; 
I would be treated as a child, 

And guided where I go. 

4 Wherever in the world I am, 

In whatsoe'er estate, 
I have a fellowship with hearts, 

To keep and cultivate ; 
A work of lowly love to do 

For Him on whom I wait. 

5 I ask thee for the daily strength, 

To none that ask denied, 

A mind to blend with outward life 
While keeping at thy side ; 

Content to fill a little space, 
If thou be glorified. 

6 And if some things I do not ask 

Among my blessings be, 
I'd have my spirit filled the more 

With grateful love to thee ; 
More careful, not to serve thee much, 

But please thee perfectly. 

7 In service which thy love appoints 

There are no bonds for me ; 
My secret heart is taught the truth 

That makes thy children free : 
A life of self-renouncing love 

Is one of liberty. 

Anna L. Waring. Alt. 

Title: "My T ivies Are in Thy Hand." 
(Ps. xxxi. 15.) This is the first poem in 
the author's Hymns and Meditations. 
1850. One verse, the sixth, has been omit- 
ted. It is so quaint that we quote it here: 

There are briers besetting every path, 
That call for patient care ; 

There is a cross in every lot, 

And an earnest need for prayer ; 

But a lowly heart that leans on Thee 
Is happy anywhere. 

Bishop Bickersteth in his notes says: 

This hymn may seem more suitable for 
private meditation or for being sung around 
the home altar than for public worship, 
though there are occasions when it is not out 
of harmony with the service of the sanctuary. 

The original is a little irregular, and 
the alterations consist mostly of a few 
omissions of syllables from redundant 

-466 L- M. 61. 

THOU hidden Source of calm repose, 
Thou all-sufficient Love divine, 
My help and refuge from my foes, 

Secure I am while thou art mine : 
And lo ! from sin, and grief, and shame, 
I hide me, Jesus, in thy name. 

2 Thy mighty name salvation is, 

And keeps my happy soul above : 
Comfort it brings, and power, and peace, 

And joy, and everlasting love : 
To me, with thy great name, are given 
Pardon, and holiness, and heaven. 



3 Jesus, my all in all thou art ; 

My rest in toil, my ease in pain ; 
The medicine of my broken heart ; 

In war my peace ; in loss my gain ; 
My smile beneath the tyrant's frown ; 
In shame my glory and my crown : 

4 In want my plentiful supply ; 

In weakness my almighty power ; 
In bonds my perfect liberty ; 

My light in Satan's darkest hour ; 
In grief my joy unspeakable ; 
My life in death — my all in all. 

Charles Wesley. 

Prom Hymns and Sacred Poems, 1749. 
Title: "Hymns for Believers. For the 
Morning.'''' The real theme evidently is 
"Christ our All in all." The author wrote 
in the last line "My heaven in hell" in- 
stead of "my all in all." Concerning this 
remarkable expression Stevenson has a 
helpful and suggestive note: 

The poet's idea in this hymn is to exalt 
Christ, and he selects various circumstances 
in life which he gives in striking antithesis to 
set this forth. Christ is the Christian's rest 
in toil, his ease in pain, his peace in war, his 
gain in loss, his liberty in bondage, and last 
of all comes this marvelous climax — his heav- 
en in hell ! This, of course, cannot be taken 
as it is literally expressed ; it is a poet's li- 
cense with language which requires to be re- 
ceived in a careful and modified symbolical 

While the change made in the text re- 
moves an expression liable to be misun- 
derstood, it destroys the climax of the 

A gentleman of large wealth, who was 
noted for his spirituality, was asked by a 
friend how he was enabled to preserve 
such a frame of mind in the midst of 
great and multitudinous business trans- 
actions. He replied: "By making Christ 
my All in all." After a time he sustained 
heavy financial losses in a commercial cri- 
sis, when his friend again asked him how 
he was enabled to maintain not only his 
serenity of mind, but even cheerfulness 
and buoyancy of spirit. He replied: "By 
finding my all in Christ." This was in- 
deed a beautiful reply. 

467 7s, 6s. D. 

I KNOW no life divided, 
O Lord of life, from thee ; 
In thee is life provided 

For all mankind and me: 
I know no death, O Jesus, 

Because I live in thee ; 
Thy death it is which frees us 
From death eternally. 

2 I fear no tribulation, 

Since, whatsoever it be, 
It makes no separation 

Between my Lord and me. 
If thou, my God and teacher, 

Vouchsafe to be my own, 
Though poor, I shall be richer 

Than monarch on his throne. 

3 If, while on earth I wander, 

My heart is light and blest, 
Ah, what shall I be yonder, 

In perfect peace and rest? 
O blessed thought ! in dying 
We go to meet the Lord, 
Where there shall be no sighing, 
A kingdom our reward. 

Carl J. P. Spitta. 
Tr. by Richard Massie. 

Prom the German: "0 Jesu meine Son- 

The translation — eight stanzas, found 
in Lyra Domestica, London, 1860 — begins: 

O blessed Sun whose splendor 
Dispels the shades of night. 

This hymn is composed of verses four, 
five, and six, unchanged. 



CAST thy burden on the Lord, 
Only lean upon his word ; 
Thou shalt soon have cause to bless 
His eternal faithfulness. 

2 Ever in the raging storm 

Thou shalt see his cheering form, 
Hear his pledge of coming aid : 
"It is I, be not afraid." 

3 Cast thy burden at his feet ; 
Linger at his mercy-seat : 

He will lead thee by the hand 
Gently to the better land. 

4 He will gird thee by his power, 
In thy weary, fainting hour : 
Lean, then, loving, on his word ; 
Cast thy burden on the Lord. 

Author Unknown. 



This hymn appears in many different 
forms. Several seem to have had a hand 
in the making of it as it here appears: 
John Cennick (1743), Rowland Hill 
(1783), George Rawson (1853), and cer- 
tain hymn revisers whose names are un- 
known. The text here used differs seri- 
ously from that of both Hill and Raw- 
son, being a great improvement on each. 
It is based on Psalm lv. 22, "Cast thy 
burden upon the Lord," the second stan- 
za referring to Matthew xiv. 27: "It is I; 
be not afraid." The Scripture doctrine of 
burden-bearing, on which this hymn is 
based, may be stated as follows: 

The gospel teaches three things concerning 
burden-bearing: (1) "Every man shall bear 
his own burden" — that is, every burden that 
he can bear. (2) "Bear ye one another's 
burdens" — that is, instead of placing your 
burden on some one else, try to find those 
about you whose burdens are greater than 
yours, and help them bear their burdens. 
(3) "Cast thy burden on the Lord" — that is, 
if there be burdens so heavy that we cannot 
bear them ourselves and no one offers to 
help us bear them, these we are invited to cast 
on the Lord, who has promised either to bear 
them himself or to gird us with his power and 
help us bear them. It is this last lesson in 
burden-bearing that is set forth in this sim- 
ple but very useful hymn. 

469 7s. D. 

LORD of earth, thy forming hand 
Well this beauteous frame hath planned — 
Woods that wave, and hills that tower, 
Ocean rolling in his powex : 
Yet amidst this scene so fair, 
Should I cease thy smile to share, 
What were all its joys to me? 
Whom have I on earth but thee? 

2 Lord of heaven, beyond our sight 
Shines a world of purer light ; 
There in love's unclouded reign, 
Severed friends shall meet again : 

that world is passing fair ! 
Yet, if thou wert absent there, 
What were all its joys to me? 
Whom have I in heaven but thee? 

3 Lord of earth and heaven, my breast 
Seeks in thee its only rest ; 

1 was lost ; thy accents mild 
Homeward lured thy wandering child : 

O if once thy smile divine 
dascd upon my soul to shine, 
What were earth or heaven to me? 
Whom have I in each but thee? 

Robert Grant. 

Written upon Psalm Ixxiii. 25: "Whom 
have I in heaven but thee? and there is 
none upon earth that I desire besides 

Twelve lines have been omitted, and 
changes have been made in two lines. In 
1839 Lord Glenelg, brother of the author, 
collected twelve of his pieces and pub- 
lished them with the title, Sacred Poems. 

The first piece is "When gathering 
clouds around I view;" the second is 
"Saviour, when in dust to thee." The 
above hymn is the third. It is not so fa- 
miliar as the others, but it is equally 
graceful and valuable. 

Note especially how the first verse is 
addressed to the "Lord of earth," the 
second to the "Lord of heaven," and the 
third to the "Lord of earth and heaven," 
with corresponding and appropriate ref- 
erences in the closing lines of each stan- 
za. In verse two one of the most pre- 
cious truths about heaven is brought out 
in these words: 

There in love's unclouded reign 
Severed friends shall meet again. 

But the highest merit of the hymn 
consists in the beautiful threefold ex- 
pression it gives to the thought that it 
is God's presence and smile that can 
alone make life happy, whether we be on 
earth or in heaven. 

470 c. m. 

LORD, it belongs not to my care 
Whether I die or live ; 
To love and serve thee is my share, 
And this thy grace must give. 

2 If life be long, I will be glad 

That I may long obey ; 
If short, yet why should I be sad 
To soar to endless day? 

3 Christ leads me through no darker rooms 

Than he went through before; 
lie that into God's kingdom comes 
Must enter by this door. 



4 Come, Lord, when grace hath made me meet 

Thy blessed face to sec; 
For, if thy work on earth be sweet, 
What will thy glory be? 

5 My knowledge of that life is small ; 

The eye of faith is dim ; 
But 'tis enough that Christ knows all, 
And I shall be with him. 

Richard Baxter. 

This hymn on "The Covenant and Con- 
fidence of Faith" the author wrote for 
himself, but in a note he adds: "This 
covenant my dear wife, in her former 
sickness, subscribed with a cheerful spir- 
it." It is found in his Poetical Frag- 
ments, 1681. It has, as there published, 
eight double stanzas. The original has 
been improved by a few verbal changes. 
In verse one above, which is the fourth 
verse of the original, the author wrote: 
"Xoiv it belongs not to my care." In 
verse two, line four, he wrote: "That 
shall have the same pay." It is based 
on Philippians i. 21: "For to me to live is 
Christ, and to die is gain." It is indeed a 
beautiful hymn of love, trust, and hope. 

A generation ago Baxter's Saints' Ev- 
erlasting Rest was one of the most widely 
read and popular of religious books. It 
was written at a time when he was so 
feeble in body that two men had to sup- 
port him in the pulpit. The subtitle of 
his Poetical Fragments is: "Heart Im- 
ployment with God and Itself; the Con- 
cordant Discord of a Brokenhearted 
Heart." The preface is dated: "London, 
at the Door of Eternity, August 7, 1681." 
Among his utterances these are worth 

Weakness and pain helped me to study how 
to die. That set me on studying how to live, 
and that on studying the doctrine from whicn 
I must fetch my motives and comforts. Be- 
ginning with necessities, I proceeded by de- 
grees, and am now going to see that for 
which I have lived and studied. 

I have made a psalm of praise in the holy 
assembly, the chief delightful exercise of my 
religion and my life, and have helped to bear 
down all the objections which I heard against 
church music. 

These lines by Richard Baxter suggest 
the following verses by John Bunyan: 

He that is down need fear no fall, 

He that is low, no pride ; 
He that is humble ever shall 

Have God to be his guide. 

I am content with what I have, 

Little be it or much ; 
And, Lord, contentment still I crave, 

Because thou savest such. 

Fullness to such a burden is 

That go on pilgrimage ; 
Here little, and hereafter bliss, 

Is best from age to age. 


S. M. 

JESUS, my Truth, my Way, 
My sure, unerring Light, 
On thee my feeble steps I stay, 
Which thou wilt guide aright. 

2 My Wisdom and my Guide, 

My Counselor thou art ; 
O never let me leave thy side, 
Or from thy paths depart ! 

3 I lift mine eyes to thee, 

Thou gracious, bleeding Lamb, 
That I may now enlightened be, 
And never put to shame. 

4 Never will I remove 

Out of thy hands my cause ; 
But rest in thy redeeming love, 
And hang upon thy cross. 

5 Teach me the happy art 

In all things to depend 
On thee ; O never, Lord, depart, 
But love me to the end ! 

Charles Wesley. 

Title: "For Believers." The original 
contains seven eight-lined stanzas. This 
hymn is made up of the first two and the 
first half of the fifth. The only change 
is a slight transposition in the fourth 
stanza. Wesley's order was: "I never 
will remove." 

Filled with devocion, this hymn is of 
special value for private and home use. 

From Charles Wesley's Hymns and Sa- 
cred Poems, 1749. 



472 C. M. D. 

I BOW my forehead In the dust, 
I veil mine eyes for shame, 
And urge, in trembling self-distrust, 

A prayer without a claim. 
No offering of mine own I have, 
Nor works my faith to prow ; 
I can but give the gifts He gave, 
And plead His love for love ! 

2 I dimly guess, from blessings known, 

Of greater out of sight ; 
And, with the chastened psalmist, own 

His judgments too are right. 
And if my heart and flesh are weak 

To bear an untried pain, 
The bruised reed he will not break, 

But strengthen and sustain. 

3 I know not what the future hath 

Of marvel or surprise, 
Assured alone that life and death 

His mercy underlies. 
And so beside the silent sea 

I wait the muffled oar : 
No harm from him can come to me 

On ocean or on shore. 

4 I know not where his islands lift 

Their fronded palms in air ; 
I only know I cannot drift 

Beyond his love and care. 
And thou, O Lord, by whom are seen 

Thy creatures as they be, 
Forgive me if too close I lean 

My human heart on thee. 

John G. Whittier. 

Copyright, Houghton, Mifflin &, Co. 

"The Eternal Goodness" is the title of 
the poem of twenty-two stanzas (of four 
lines each) from which this hymn is 
taken. The stanzas have been consider- 
ably transposed in making the above 
hymn, which is composed of the ninth, 
eighteenth, fourteenth, seventeenth, six- 
teenth, nineteenth, twentieth, and twen- 
ty-second stanzas of the original. Per- 
haps no lines that Whittier ever wrote 
are more universally admired than those 
found in the second half of verse three 
and the first half of verse four above. 

Whittier more than any other of all 
our great poets recognizes always and 
everywhere the goodness and love of God. 
His poems abound in the most tender and 
beautiful references to God's never-failing 

love for us — a love so wide and free as to 
make love for him in return and love for 
our fellow-man to be the crowning at- 
tribute of the Christian religion. His 
poems are one loud and long protest 
against that type of theology and religion, 
long dominant in New England and else- 
where, that so obscured the divine good- 
ness and love as to constitute, not a reve- 
lation, but a caricature of the true nature 
of God as the loving Father of all men. 
The following lines, culled from different 
poems, are but a few of the many strik- 
ing and beautiful verses expressive of 
God's love that are found scattered here 
and there throughout his writings: 

"The riddle of the world is understood 
Only by him who feels that God is good, 
As only he can feel who makes his love 
The ladder of his faith, and climbs above 
On the rounds of his best instincts ; draws 

no line 
Between mere human goodness and divine ; 
But, judging God by what in him is best, 
With a child's trust leans on a Father's 


"That more and more a Providence 

Of love is understood, 
Making the springs of time and sense 

Sweet with eternal good ; 
That death seems but a covered way 

Which opens into light, 
Wherein no blinded child can stray 

Beyond the Father's sight." 

" 'O child,' he said, 'thou teachest me 
There is no place where God is not ; 
That Love will make, where'er it be, 
A holy spot.' " 

"O brother man ! fold to thy heart thy broth- 
er ; 
Where pity dwells, the peace of God is 
there ; 
To worship rightly is to love each other, 
Each smile a hymn, each kindly deed a 

"Let me find, in Thy employ, 
Peace that dearer is than joy; 
Out of self to love be led, 
And to heaven acclimated, 
Until all things sweet and good 
Seem my natural habitude." 

Lines like these not only reveal the 
heart of Whittier, but explain why it is 



that he is coming to be more and more 
admired and loved by Christian people 

473 8, 6, 8, 6, 8, 8. 

I LOOK to Thee in every need, 
And never look in vain ; 
I feel thy strong and tender love, 

And all is well again : 
The thought of thee is mightier far 
Than sin and pain and sorrow are. 

2 Discouraged in the work of life, 

Disheartened by its load, 
Shamed by its failures or its fears, 

I sink beside the road : 
But let me only think of thee, 
And then new heart springs up in me. 

3 Thy calmness bends serene above, 

My restlessness to still ; 
Around me flows thy quickening life, 

To nerve my faltering will ; 
Thy presence fills my solitude ; 
Thy providence turns all to good. 

4 Embosomed deep in thy dear love, 

Held in thy law, I stand ; 
Thy hand in all things I behold, 

And all things in thy hand ; 
Thou leadest me by unsought ways, 
And turn'st my mourning into praise. 

Samuel Longfellow. 

Copyright, Houghton, Mifflin & Co. 

Title: "Looking Unto God." It was 
contributed to Hymns of the Spirit, Bos- 
ton, 1864, which the author compiled in 
connection with Rev. Samuel Johnson. 
It is unaltered and complete. 

In a letter dated Cambridge, February 
11, 1890, Mr. Longfellow said: "My two 
favorites among my hymns are the ves- 
per hymn, 'Again as evening's shadow 
falls,' and one beginning, 'I look to Thee 
in every need.' " 


C. M. 

OUR highest joys succeed our griefs, 
And peace is born of pain ; 
Smiles follow bitter, blinding tears, 
As sunshine follows rain. 

2 We gain our rest through weariness, 
From bitter draw the sweet : 
Strength comes from weakness, hope from 
And victory from defeat. 

3 We reap where we have sown the seed ; 
Gain is the fruit of loss; 
Life springs from death and, at the end, 
The crown succeeds the cross. 

Author Unknown. 

This hymn, which is not contained, so 
far as is known, in any other Church col- 
lection, was found by a member of the 
Commission that compiled this Hymnal 
in the columns of a religious periodical, 
where it was published anonymously. 
When we think of how many good and 
useful hymns are of unknown authorship, 
there comes to mind the familiar couplet 
of Ellen H. Gates: 

Though they may forget the singer, 
They will not forget the song. 

In no other hymn is the idea so strik- 
ingly brought out as here that pain must 
often precede peace, that the defeat of to- 
day may pave the way for the victory 
of to-morrow, and that life's brightest 
crowns are often gained only as a result 
of losses and crosses that are hard to 

475 10s. ' 

LEAD us, O Father, in the paths of peace ; 
Without thy guiding hand we go astray, 
And doubts appall, and sorrows still in- 
crease ; 
Lead us through Christ, the true and liv- 
ing Way. 

2 Lead us, O Father, in the paths of truth ; 

Unhelped by thee, in error's maze we 

While passion stains, and folly dims our 

And age comes on, uncheered by faith 

and hope. 

3 Lead us, O Father, in the paths of right ; 

Blindly we stumble when we walk alone, 
Involved in shadows of a darksome night, 
Only with thee we journey safely on. 

4 Lead us, O Father, to thy heavenly rest, 

However rough and steep the path may 
Through joy or sorrow, as thou deemest 
Until our lives are perfected in thee. 

William H. Burleigh. 


Title: "A Prayer for Guidance." Two 
lines have been changed. The author 
wrote line three of verse three: 

Involved in shadows of a moral night. 

And line two of verse four: 

However rough and steep the pathway be. 

From the author's Poems, New York, 


L. M. 61. 

LEAVE God to order all thy ways, 
And hope in him whate'er betide ; 
Thou'lt find him, in the evil days, 

Thine all-sufficient strength and guide. 
Who trusts in God's unchanging love 
Builds on the rock that naught can move ! 

2 Only thy restless heart keep still, 

And wait in cheerful hope, content 
To take whate'er his gracious will, 

His all-discerning love hath sent ; 
Nor doubt our inmost wants are known 
To him who chose us for his own. 

3 He knows when joyful hours are best, 

He sends them as he sees it meet, 
When thou hast borne the fiery test, 

And now art freed from all deceit, 
He comes to thee all unaware, 
And makes thee own his loving care. 

4 Sing, pray, and sw r erve not from his ways ; 

But do thine own part faithfully. 
Trust his rich promises of grace, 

So shall they be fulfilled in thee. 
God never yet forsook at need 
The soul that trusted him indeed. 

Georg Neumark. 
Tr. by Catherine Winkivorth. 

The title which the author gave this 
hymn was: "A Hymn of Consolation." 
This title is followed by the words: 
"That God will care for and preserve his 
own in his own time." It is based on 
Psalm lv. 2. It was written by the au- 
thor in grateful acknowledgment of the 
providential blessing that came to him in 
a time of great trial, and is therefore in 
no small degree autobiographical. The 
circumstances that called it forth are de- 
scribed by Dr. Telford as follows: 

Neumark was the son of a clothier in Thu- 
ringia, and was born in 1621. In the au- 
tumn of 1G41 he was on his way to matricu- 
late at the University of Konigsberg, when 
the party with which he traveled was at- 
tacked by a band of highwaymen, who robbed 
him of all he had, save his prayer book and a 
little money sewed up in his clothes. He 
could find no employment in Magdeburg, near 
which city he was robbed, or in three other 
cities to which he went. In December he 
came to Kiel, where he found a friend in the 
chief pastor, a native of Thuringia. Still no 
employment was to be had. About the end 
of the month, however, the tutor in the family 
of a judge fell into disgrace and fled from 
Kiel. The pastor's recommendation secured 
the place for Neumark, who expressed his 
gratitude to God in this hymn, which soon 
became popular all over Germany. He saved 
enough to go to Konigsberg, where he ma- 
triculated as a student of law in June, 1G43. 
In 1646 he lost all he had by fire. In 1652 
he was appointed court poet, librarian, and 
registrar at Weimar, and in 1656 was made 
secretary of the Fruit-Bearing Society, a fa- 
mous literary union. He became blind in 
1681, and died that year in Weimar. 

In the last year of his life Neumark speaks 
of this hymn : "Which good fortune coming 
suddenly, and as if fallen from heaven, great- 
ly rejoiced me, and on that very day I com- 
posed to the honor of my beloved Lord the 
here and there well-known hymn, f Wer nur 
den lieben Gott lasst icalten;' and had cer- 
tainly cause enough to thank the divine com- 
passion for such unlooked-for grace shown 
to me." 

A baker's boy in New Brandenburg used to 
sing this hymn over his work, and soon the 
whole town and neighborhood flocked to him 
to learn "this beautiful new song." The 
hymn was sung, by his own request, at the 
funeral of Friedrich Wilhelm I. of Prussia in 
17 40. J. S. Bach composed a cantata based 
on Neumark's own tune. Mendelssohn used it 
in his St. Paul, "To thee, O Lord, I yield my 


L. M. 


OT always on the mount may we 
Rapt in the heavenly vision be ; 
The shores of thought and feeling know 
The Spirit's tidal ebb and flow. 

2 Lord, it is good abiding here 

We cry, the heavenly presence near; 
The vision vanishes, our eyes 
Are lifted into vacant skies! 



3 Yet hath one such exalted hour, 
Upon the soul redeeming power, 

And in its strength through after days 
We travel our appointed ways ; 

4 Till all the lowly vale grows bright, 
Transfigured in remembered light, 
And in untiring souls we bear 

The freshness of the upper air. 

5 The mount for vision — but below 
The paths of daily duty go, 
And nobler life therein shall own 
The pattern on the mountain shown. 

Frederick L. Hosmer. 

Author's title: "On the Mount." Al- 
though written in 1882, it was first pub- 
lished in Unity, Chicago, April 1, 1884. 
It is based upon the story of the trans- 
figuration, Matthew xvii. The lesson that 
the author gives us here in metrical form 
is wholesome and inspiring. We cannot 
abide upon the "mount of vision;" there 
is work for us in the valley. But to see 
the real Christ once is not only neces- 
sary, but a lifelong inspiration. 


8, 8, 6. 

HOLY Saviour, Friend unseen, 
Since on thine arm thou bidd'st me lean, 
Help me, throughout life's changing scene, 
By faith to cling to thee. 

2 What though the world deceitful prove, 
And earthly friends and hopes remove ; 
With patient, uncomplaining love, 

Still would I cling to thee. 

3 Though oft I seem to tread alone 

Life's dreary waste, with thorns o'ergrown, 
Thy voice of love, in gentlest tone, 
Still whispers, "Cling to me !" 

4 Though faith and hope are often tried, 
I ask not, need not, aught beside ; 

So safe, so calm, so satisfied, 

The soul that clings to thee. 

Charlotte Elliott. 

This hymn on ''Clinging to Christ" was 
written in 1834, shortly after the death of 
the author's father, and was first pub- 
lished in the 1834 edition of her Invalid's 
Hymn Book, where it begins: "Holy Sav- 
iour, Friend unseen." It is, as a rule, 
only when one has had experience in suf- 

fering and sorrow that he realizes the 
need of "clinging to Christ." This song 
was learned in suffering. 


C. M. 

LOVE ! O Life ! Our faith and sight 
Thy presence maketh one, 
As through transfigured clouds of white 
We trace the noonday sun. 

2 So, to our mortal eyes subdued, 

Flesh-veiled, but not concealed, 
We know in thee the fatherhood 
And heart of God revealed. 

3 We faintly hear, we dimly see, 

In differing phrase we pray ; 
But, dim or clear, we own in thee 
The Light, the Truth, the Way ! 

4 Our Friend, our Brother, and our Lord, 

What may thy service be? — 
Nor name, nor form, nor ritual word, 
But simply following thee. 

5 Thy litanies, sweet offices 

Of love and gratitude ; 

Thy sacramental liturgies, 

The joy of doing good. 

John G. Whittier. 

Copyright, Houghton, Mifflin & Co. 

Part of a sweet and majestic poem of 
thirty-eight stanzas, entitled: "Our Mas- 
ter." It is made up of verses twenty-four, 
twenty-five, twenty-six, thirty-two, and 
thirty-four, unaltered. No. 128 in this 
book is a part of the same grand poem. 

Whittier once said to the writer of this 
note that he had not undertaken to write 
hymns because he was no musician and 
did not know what was singable. But, 
taught by intuition, without technical 
knowledge, he wrote some poems easily 
set to music, and, without trying, pro- 
duced some lyrics that will be sung in 
the Christian Church long after his more 
ambitious work shall have become neg- 


C. M. 

' WORSHIP thee, most gracious God, 

And all thy ways adore ; 
And every day I live, I seem 

To love thee more and more. 



■2 When obstacles and trials seem 
Like prison walls to be, 
I do the little I can do, 

And have the rest to thee. 

3 I have no cares, O blessed Will, 

For all my cares are thine; 
I live In triumph, Lord, for thou 
Hast made thy triumphs mine. 

4 lie always wins who sides with God, 

To him no chance is lost ; 
God's will is sweetest to him when 
It triumphs at his cost. 

5 111 that he blesses is our good, 

And unblest good is ill ; 
And all is right that seems most wrong, 
If it be his sweet will. 

Frederick W. Falter. 

"The Will of God" is the title which 
this hymn bears in the author's Hymns, 
published in various editions from 1848 
to 1884, and it there begins: "I worship 
thee, sw r eet wall of God." The original 
contains fourteen stanzas, the above be- 
ing the first, seventh, ninth, thirteenth, 
and fourteenth. The sweet, flowing 
rhythm and confiding trust that charac- 
terize this hymn and so many others that 
Faber wrote have made him one of the 
most beloved of modern hymn-writers. 


!, 8, 8, 6. 

LOVE that wilt not let me go, 
I rest my weary soul in thee ; 
I give thee back the life I owe, 
That in thine ocean depths its flow 
May richer, fuller be. 

2 O Light that followest all my way, 

I yield my flickering torch to thee ; 
My heart restores its borrowed ray. 
That in thy sunshine's blaze its day 

May brighter, fairer be. 

3 O Joy that seekest me through pain, 

I cannot close my heart to thee ; 
I trace the rainbow through the rain, 
And feel the promise is not vain 

That morn shall tearless be. 

4 O Cross that liftest up my head, 

I dare not ask to fly from thee ; 
I lay in dust life's glory dead, 
And from the ground there blossoms red 

Life that shall endless be. 

George Matheson. 

The trust, joy, and glad surrender in 
this hymn are admirable. Stories of its 
origin like the following are* circulated in 
this country: 

We sing sometimes that hymn of Mathe- 
son's : "O Love that wilt not let me go." 
But it is worth while to remember how Ma- 
theson came to write those beautiful lines. 
Nay, w r e need to know how he came to the i \- 
perience out of which he could write them. 
He had loved a woman as only a fine-grain. <1 
man can ever love. But when blindness cam- 
upon him the woman gave him up. Her r< - 
nouncement broke his heart, but it drove him 
to the heart of One who icould not let him go. 
And so he sang of what he had found : "O 
Love that wilt not let me go." 

This cannot be true. The author be- 
came blind at the age of fifteen; he was 
forty years old when he wrote the hymn. 
Dr. Matheson's own account of the com- 
position of this hymn is very interesting, 
and is as follows: 

My hymn was composed in the manse of 
Innellan on the evening of June 6, 1SS2. 1 
was at that time alone. It was the day of my 
sister's marriage, and the rest of the family 
were staying overnight in Glasgow. Some- 
thing had happened to me which was known 
only to myself, and which caused me the 
most severe mental suffering. It was the 
quickest bit of work I ever did in my life. I 
had the impression rather of having it dic- 
tated to me by some inward voice than of 
working it out myself. ILife of George Ma- 
theson, by D. Macmillan.] 


■s. 61. 

JESUS, Saviour, pilot me 
Over life's tempestuous sea ; 
Lmknown waves before me roll, 
Hiding rock and treacherous shoal ; 
Chart and compass came from thee : 
Jesus, Saviour, pilot me. 

2 As a mother stills her child, 
Thou canst hush the ocean wild ; 
Boisterous w r aves obey thy will 
When thou sayest to them "Be still !' 
Wondrous Sovereign of the sea, 
Jesus, Saviour, pilot met. 

3 When at last I near the shore, 
And the fearful breakers roar 
'Twixt me and the peaceful rest, 
Then, while leaning on thy breast, 



May I hear thee say to me, 
"Fear not, I will pilot thee." 

Edward Hopper. 

This beautiful hymn was first published 
in the Sailor's Magazine, 1871, anony- 
mously. The original has six stanzas, the 
above being the first, fifth, and sixth. It 
was published in the Baptist Praise Book, 
1871, and in Dr. C. S. Robinson's collec- 
tion of Spiritual Songs, 1878, as of un- 
known authorship. The author was pas- 
tor of the "Church of the Sea and Land" 
during the last eighteen years of his life. 
A great many sailors attended this 
church. On May 10, 1880, the Seamen's 
Friend Society held its anniversary in the 
Broadway Tabernacle, New York City, 
and Dr. Hopper, the author of this hymn, 
was requested to write a special hymn 
for the occasion. Instead of so doing he 
brought this hymn with him and gave it 
out, thinking that this was the first use 
of it in public worship. He afterwards 
learned, however, that it had already been 
published in two or more Church hym- 
nals. This was the first that the public 
knew of the real authorship of the hymn. 

For some years before he died (April, 
1888) the author suffered with heart dis- 
ease, and his death was very sudden. He 
had just finished some lines on "Heaven," 
and while he still sat upright in his study 
chair and his pencil still lay on the fresh- 
written page of the manuscript, he sud- 
denly heard and answered the voice that 
said: "Fear not, I will pilot thee." 

The tune to which it is universally sung 
is beautifully adapted to the words. The 
hymn suggests the inspiring lines of an- 
other poet: 

Then courage, O ye mariners ; 

Ye cannot suffer wreck, 
While up to God your fervent prayers 

Are rising from the deck. 

Sail bravely on, O manners, 

To daylight and to land ; 
The breath of God is in your sail, 

Your rudder in his hand ! 


C. M. 


Y God, I love thee, not because 
I hope for heaven thereby, 

Nor yet because, if I love not, 
I must forever die. 

2 Thou, O my Jesus, thou didst me 

Upon the cross embrace : 
For me didst bear the nails, and spear, 
And manifold disgrace. 

3 Then why, O blessed Jesus Christ, 

Should I not love thee well? 
Not for the hope of winning heaven, 
Nor of escaping hell ; 

4 Not with the hope of gaining aught, 

Not seeking a reward ; 
But as thyself hast loved me, 
O ever-loving Lord ! 

5 So would I love thee, dearest Lord, 

And in thy praise will sing; 
Solely because thou art my God, 
And my eternal King. 

Francis Xavier (?). 
Tr. by Edward Caswall. 

Slightly altered from the translator's 
text as found in Lyra Catholica, 1849, 
where it has this heading: "Hymn of St. 
Francis Xavier. Deus, ego amo Te." 

The third stanza is omitted from the 
hymn. It is valuable because it brings 
out the idea that it was "while we were 
yet sinners" that Christ died for us. 

And griefs and torments numberless ; 

And sweat of agony ; 
E'en death itself — and all for one 

Who was thine enemy. 

Recent investigation has shown that 
this hymn was not written by Xavier. 
The authorship is unknown. 


C. M. 

THOU, in all thy might so far, 

In all thy love so near, 
Beyond the range of sun and star, 
And yet beside us here, — 

2 What heart can comprehend thy name, 

Or, searching, find thee out, 
Who art within, a quickening flame, 
A presence round about? 

3 Yet though I know thee but in part, 

I ask not, Lord, for more : 
Enough for me to know thou art, 
To love thee and adore. 



4 O sweeter than aught els.- besides. 

The tender tnj st< ry 
That like a veil of shadow hides 

The light I may noi 

5 And dearer than all things I know 

Is childlike faith to me, 
That makes the darkest way I go 
An open path to thee. 

Frederick L. Hosmer. 

ih The Mystery of God" is the title which 
this hymn bears in the author's volume 
titled The Thought of God, 1885. It was 
written, however, in 1876, and was first 
published in the New York Inquirer. Re- 
plying to a letter inquiring as to what 
circumstances may have led him to write 
this and other hymns in this volume, the 
author says: 

Aside from occasional hymns, such as were 
written for church dedications, festivals, etc., 
my hymns have come to me rather as the 
expression of devouter moods and a widening 
experience of life than as the direct reflection 
of any one event or experience ; and they were 
written for the most part less with any view 
to publication than for the satisfaction such 
expressions gave me at the time. All the 
more gratifying has it been to me that they 
have found response in other minds and 
hearts of different denominational folds. 


8, 8, 8, 4. 

FIERCE raged the tempest o'er the deep, 
Watch did Thine anxious servants keep, 
But thou wast wrapped in guileless sleep, 
Calm and still. 

2 "Save, Lord, we perish," was their cry, 
"O save us in our agony !" 

Thy word above the storm rose high, 
"Peace, be still." 

3 The wild winds hushed, the angry deep 
Sank, like a little child, to sleep ; 

The sullen billows ceased to leap, 
At thy will. 

4 So, when our life is clouded o'er, 

And storm-winds drift us from the shore, 
Say, lest we sink to rise no more, 
"Peace, be still." 

Godfrey Thring. 

Title: "Stilling the Sea. 
37-41.) Date, 1681. 

(Mark iv 

This fine lyric reminds us of the Greek 
hymn of Anatolius, Patriarch of Con- 
stantinople, who died in 458. The trans- 
lation is by Dr. John Mason Neale: 

Fierce was the wild billow, 

Dark was the night ; 
Oars labored heavily, 

Foam glimmered white; 
Mariners trembled, 

Peril was nigh : 
Then said the God of God, 

"Peace! It is I!" 

Ridge of the mountain wave, 

Lower thy crest ! 
Wail of Euroclydon, 

Be thou at rest. 
Peril can none be, 

Sorrow must fly, 
Where saith the Light of Light: 

"Peace ! It is I !" 

Jesu, Deliverer ! 

Come thou to me ; 
Soothe thou my voyaging 

Over life's sea ! 
Thou when the storm of death 

Roars sweeping by, 
Whisper, O Truth of Truth : 

"Peace ! It is I !" 

486 n > 10 > n ' 6 - 

STILL will we trust, though earth seem dark 
and dreary, 
And the heart faint beneath his chasten- 
ing rod ; 
Though rough and steep our pathway, worn 
and weary, 
Still will we trust in God ! 

2 Our eyes see dimly till by faith anointed, 

And our blind choosing brings us grief 
and pain ; 
Through him alone who hath our way ap- 

We find our peace again. 

3 Choose for us, God ! nor let our weak pre- 

fer ring- 
Cheat our poor souls of good thou hast 

designed : 
Choose for us, God ! thy wisdom is unerring, 
And we are fools and blind. 

4 Let us press on, in patient self-denial, 

Accept the hardship, shrink not from the 
loss ; 
Our portion lies beyond the hour of trial, 
Our crown beyond the cross. 

William II. Burleigh. 



This hymn first appeared in Lyra Sa- 
cra Americana, 1868. The sentiment of it 
is such as to call forth from Dr. C. S. 
Robinson this significant comment: 
"Sometimes it requires more real piety 
to be still under commonplace worries, to 
be patient in prosaic drudgeries than to 
go straight into battle. A great many 
Christians are dissatisfied unless they 
can be set about doing some big thing:' 

-18 T P- M. 

WHATE'ER my God ordains is right; 
His will is ever just ; 
Howe'er he orders now my cause, 
I will be still and trust. 
He is my God ; 
Though dark my road, 
He holds me that I shall not fall, 
Wherefore to him I leave it all. 

1 Whate'er my God ordains is right; 
He never will deceive ; 
He leads me by the proper path, 
And so to him I cleave, 
And take content 
What he hath sent ; 
His hand can turn my griefs away, 
And patiently I wait his day. 

3 Whate'er my God ordains is right ; 

Though I the cup must drink 
That bitter seems to my faint heart, 
I will not fear nor shrink ; 
Tears pass away 
With dawn of day ; 
Sweet comfort yet shall fill my heart, 
And pain and sorrow all depart. 

4 Whate'er my God ordains is right ; 

My light, my life is he, 
Who cannot will me aught but good ; 
I trust him utterly ; 
For well I know, 
In joy or woe, 
We soon shall see, as sunlight clear, 
How faithful was our guardian here. 

5 Whate'er my God ordains is right ; 

Here will I take my stand, 
Though sorrow, need, or death make earth 
For me a desert land. 
My Father's care 
Is round me there, 
He holds me that I shall not fall ; 
And so to him I leave it all. 

Samuel Rodigast. 
Tr, by Catherine Winkworth. 

From the German. The translation, six 
stanzas, is found in Lyra Germanica, Sec- 
ond Series, 1858, under the title: "The 
Quiet Hoping Heart.' It has this pref- 
ace: "Written for the comfort of a sick 
friend, who set it to music, and on his re- 
covery frequently caused it to be sung be- 
fore his house by the school choir." The 
date of the German hymn is 1675. 

488 '<s, 6s. D. 

I LAY my sins on Jesus, 
The spotless Lamb of God ; 
He bears them all and frees us 

From the accursed load : 
I bring my guilt to Jesus, 

To wash my crimson stains 
White in his blood most precious, 
Till not a stain remains. 

2 I lay my wants on Jesus ; 

All fullness dwells in him ; 
He healeth my diseases, 

He doth my soul redeem : 
I lay my griefs on Jesus, 

My burdens and my cares ; 
He from them all releases, 

He all my sorrows shares. 

3 I long to be like Jesus, 

Meek, loving, lowly, mild ; 
I long to be like Jesus, 

The Father's holy child : 
I long to be with Jesus 

Amid the heavenly throng, 
To sing with saints his praises, 

And learn the angels' song. 

Horatius Bonar. 

"The Fullness of Jesus" is the author's 
title to this hymn, which is the first that 
he ever wrote. It was written for the Sab- 
bath school in Kelso, Scotland, and was 
first published in the first edition of the 
author's Songs for the Wilderness, 1843. 
The author wrote "to" instead of "and" in 
the last line of the hymn. Tne third stan- 
za of the original is inferior to the other 
stanzas, and is omitted here. As repub- 
lished in the Bible Hymn Book, 1844, it 
bears the title "The Substitute." The au- 
thor was heard frequently to express his 
surprise at the popularity of this hymn. 
He used to say that it might be good gos- 



pel but was certainly not good poetry. 
But the author perhaps underestimated its 
literary qualities. 


L. M. 


E leadeth me ! O blessed thought ! 
O words with heavenly comfort fraught! 
Whate'er I do, where'er I be, 
Still 'tis God's hand that leadeth me. 

He leadeth me, he leadeth me, 
By his own hand he leadeth me: 
His faithful follower I would be, 
For by his hand he leadeth me. 

2 Sometimes 'mid scenes of deepest gloom, 
Sometimes where Eden's bowers bloom, 
By waters still, o'er troubled sea, — 
Still 'tis his hand that leadeth me ! 

3 Lord, I would clasp thy hand in mine, 
Nor ever murmur nor repine, 
Content, whatever lot I see, 

Since 'tis my God that leadeth me ! 

4 And when my task on earth is done, 
When, by thy grace, the victory's won, 
E'en death's cold wave I will not flee, 
Since God through Jordan leadeth me. 

Joseph H. Gilmore. 

The seed thought and title of this favor- 
ite hymn is: "He Leadeth Me Beside the 
Still Waters:' (Ps. xxiii. 2.) It first ap- 
peared in the Watchman and Reflector,] 
Boston, December 4, 1S62, in which it was 
signed "Contoecook." 

At the First Baptist Church in Philadel- 
phia in 1862 Dr. Gilmore conducted the 
Wednesday evening service and took for 
his Scripture lesson the twenty-third 
Psalm. After the service the same sub- 
ject, the leadership of God, was continued 
in the home where he was stopping. The 
author says: 

During the conversation, the blessedness of 
God's leadership so grew upon me that I took 
out my pencil, wrote the hymn just as it 
stands to-day, handed it to my wife, and 
thought no more about it. She sent it, with- 
out my knowledge, to the Watchman and Re- 
flector. Three years later, I went to Roch- 
ester to preach for the Second Baptist 
Church. On entering the chapel I took up a 
hymn book, thinking: "I wonder what they 

sing." The book opened at "He Leadeth 
-M> ," and that was the first time I knew my 
hymn had found a place among the songs of 
the Church. 

The hymn is not altered, save that the 
last two lines of the chorus have been 
added by another hand. 

490 7s, 9s. 

SAVIOUR, more than life to me, 
I am clinging, clinging close to thee; 
Let thy precious blood applied, 
Keep me ever, ever near thy side. 

Every day, every hour, 
Let me feel thy cleansing power ; 
May thy tender love to me 
Bind me closer, closer, Lord, to thee. 

2 Through this changing world below, 
Lead me gently, gently as I go ; 
Trusting thee, I cannot stray, 

I can never, never lose my way. 

3 Let me love thee more and more, 
Till this fleeting, fleeting life is o'er : 
Till my soul is lost in love, 

In a brighter, brighter world above. 
Fanny J. Crosby. 

This was first published in the author's 
volume titled Brightest and Best. 1875, 
where it bears the title. "Jesus. All and in 
All." In Sankey s Story of the Gospel 
Hymns, published in 1906, is the following 
note on this hymn: 

The tune preceded the words in this in- 
stance. It was in 1S75 that Mr. Doane sent 
the tune to Fanny Crosby and requested her 
to write a hymn entitled: •■Every Day and 
Hour." Her response in the form of this 
hymn gave the blind hymn-writer great com- 
fort and filled her heart with joy. She felt 
sure that God would bless the hymn to many 
hearts. Her hope has been most fully ver- 
ified, for millions have been refreshed and 
strengthened as they have sung it. At the 
suggestion of Mr. D. TV. Mc Williams, who 
was superintendent of Dr. Cuyler's Sunday 
school for twenty-five years, it was put into 
Gospel Hymns. 

While several of the authors most beau- 
tiful hymns were written at the request 
of composers to accompany special tunes, 



this was not usually the case. Speaking 
once of her habits of hymn-writing, she 
said: "After the hymn is finished and 
transcribed by some friend, it generally 
waits for its tune, and steadfastly hopes 
that it will succeed in making a matrimo- 
nial alliance and a good one. I have had 
the advantage, for the most part, of very 
sympathetic and talented composers." 
Among the many composers and singers 
who have enjoyed her friendship and de- 
lighted to sing her songs and compose 
tunes for them when requested may be 
named Ira D. Sankey, W. B. Bradbury, 
Philip Phillips, Theodore E. Perkins, Rob- 
ert Lowry, W. H. Doane, W. T. Sherwin, 
J. R. Sweeney, W. J. Kirkpatrick, Silas 
Vail, L. H. Biglow, and others. The popu- 
larity of Fanny Crosby's hymns is due in 
no small degree to the tunes written by 
these composers. 


P. M. 

JESUS, let thy pitying eye 
Call back a wandering sheep ; 
False to thee, like Peter, I 

Would fain, like Peter, weep. 
Let me be by grace restored ; 

On me be all long-suffering shown 
Turn, and look upon me, Lord, 
And break my heart of stone. 

2 Saviour, Prince, enthroned above, 

Repentance to impart, 
Give me, through thy dying love, 

The humble, contrite heart ; 
Give what I have long implored, 

A portion of thy grief unknown ; 
Turn, and look upon me, Lord, 

And break my heart of stone. 

3 See me, Saviour, from above, 

Xor suffer me to die ; 
Life, and happiness, and love 

Drop from thy gracious eye ; 
Speak the reconciling word, 

And let thy mercy melt me down ; 
Turn, and look upon me, Lord, 

And break my heart of stone. 

4 Look, as when thy languid eye 

Was closed that we might live ; 
"Father," at the point to die 
lly Saviour prayed, "forgive !" 

Surely, with that dying word, 

He turns, and looks, and cries: " 'Tia 
done !" 
O my bleeding, loving Lord, 

Thou break'st my heart of stone ! 

Charles Wesley. 

Part of one of several hymns, titled 
"For One Fallen from Grace." The orig- 
inal has twelve stanzas, of which these 
are verses one. two, six, and twelve. One 
word has been changed. In the fourth 
line of the last stanza Wesley wrote: 

My Saviour gasped, "forgive." 

For this improvement we are indebted 
to the editors of the 1849 edition of the 
Methodist hymn book. 

From Hymns and Sacred Poems. By 
Charles Wesley, 1749. 

492 C. Iff. 

OFOR a closer walk with God, 
A calm and heavenly frame ; 
A light to shine upon the road 
That leads me to the Lamb ! 

2 Where is the blessedness I knew, 

When first I saw the Lord? 
Where is the soul-refreshing view 
Of Jesus and his word? 

3 What peaceful hours I once enjoyed ! 

How sweet their memory still ! 
But they have left an aching void 
The world can never fill. 

4 Return, O holy Dove, return, 

Sweet messenger of rest ! 
I hate the sins that made thee mourn, 
And drove thee from my breast. 

5 The dearest idol I have known, 

Whate'er that, idol be, 
Help me to tear it from thy throne, 
And worship only thee. 

6 So shall my walk be close with God, 

Calm and serene my frame ; 
So purer light shall mark the road 
That leads me to the Lamb. 

William Cowper. 

As found in the Olney Hymns, 1779, 
this bears the title "Walking with God" 
It was first published in Conyers's Collec- 
tion of Psalms and Hymns, second edi- 
tion, 1772. It is based on Genesis v. 24: 
"And Enoch walked with God." 



n the English periodical titled Notes 
and Queries, for July 30, 1904, some hith- 
erto unpublished letters of Cowper ap- 
peared which throw not a little light on 
three or four of his hymns, this hymn be- 
ing one of those referred to in those let- 
ters. It appears that it was written when 
the author was in deep distress of mind 
over the serious illness of his dearest 
friend and companion, Mrs. Mary Unwin. 
In a letter written on December 10, 1769, 
Cowper says: 

When I consider the great meetness to 
which the Lord has wrought her for the in- 
heritance in light, her most exemplary pa- 
tience under the sharpest sufferings, her tru- 
ly Christian humility and resignation, I am 
more than ever inclined to believe that her 
hour has come. Let me engage your prayers 
for her and for me. You know what I have 
most need of upon an occasion like this. 
Pray that I may receive it at His hands from 
whom every good and perfect gift cometh. 
She is the chief of blessings I have met with 
in my journey, since the Lord was pleased to 
call me, and I hope the influence of her edify- 
ing and excellent example will never leave 
me. Her illness has been a sharp trial to me. 
O that it may have a sanctified effect, that I 
may rejoice to surrender up to the Lord my 
dearest comforts the moment he shall require 
them. O for no will but the will of my Heav- 
enly Father ! 

I return you thanks for the verses you sent 
me, which speak sweetly the language of a 
Christian soul. I wish I could pay you in 
kind; but must be contented to pay you in the 
best kind I can. I began to compose them 
yesterday morning [December 9, 1769] be- 
fore daybreak, but fell asleep at the end of 
the first two lines. "When I awaked again, 
the third and fourth verses were whispered 
to my heart in a way which I have often ex- 
perienced : 

"O for a closer walk with God, 
A calm and heavenly frame ; 
A light to shine upon the road 
That leads me to the lamb." 

[Here follows the entire hymn as found 

I am yours, my dear aunt, in the bands of 
that love which cannot be quenched. 

W. C. 

This is certainly an interesting letter, in 
that it not only gives important informa- 

tion concerning the hymn under consider- 
ation, but also because it reveals so beau- 
tifully the modesty and piety of the poet, 
who spent so large a part of his life in the 
shadow of insanity, in which sad state 
Mrs. Unwin ever proved to be a true and 
sympathetic friend. 

"O that the ardor of my first love had 
continued!" wrote Cowper in one of his 
melancholy, depressed spiritual moods 
that followed the ecstatic experience of his 
early love. It is a curious fact that one 
who had no real occasion for mourning de- 
parted joys, at least so far as the contin- 
uance of the divine love to him was con- 
cerned, should have written this most ap- 
propriate and popular of all hymns for a 
backslidden state. Few hymns have ever 
gone into the hymn books of all Churches 
with absolutely no change from the origi- 
nal, as this has done. 


S. M. 


Y soul, be on thy guard ; 

Ten thousand foes arise ; 
The hosts of sin are pressing hard 

To draw thee from the skies. 

2 O watch, and fight, and pray; 

The battle ne'er give o'er ; 
Renew it boldly every day, 
And help divine implore. 

3 Ne'er think the victory won, 

Nor lay thine armor down ; 
The work of faith will not be done, 
Till thou obtain the crown. 

4 Fight on, my soul, till death 

Shall bring thee to thy God ; 
He'll take thee, at thy parting breath, 
To his divine abode. 

George Heath. 

Title: "Fight the Good Fight of Faith." 
It has been altered in seven lines, and im- 
proved by the changes. Verse one, line 

An host of sins are pressing hard. 

Verse three, lines two, three, and four: 

Nor once at ease sit down. 
Thij arduous work will not be done, 
Till thou hast got thy crown. 



Verse four, lines two, three, and four: 

God will the work applaud, 
Reveal his Love at thy last breath, 
And take to his abode. 

From Hymns and Poetic Essays Sacred 
to the Public and Private Worship of the 
Deity, and to Religious and Christian Im- 
provement, by the Rev. George Heath. 
Bristol, 1781. 

A most worthy lyric; it is a challenge 
to watchfulness and perseverance. It will 
always be needed. Christ said: "I say 
unto all, Watch." 


7, 7, 7, 3. 

CHRISTIAN, seek not yet repose, 
Cast thy dreams of ease away; 
Thou art in the midst of foes : 
Watch and pray. 

2 Gird thy heavenly armor on, 

Wear it ever night and day; 
Near thee lurks the evil one ; 
Watch and pray. 

3 Hear the victors who o'ercame ; 

Still they watch each warrior's way; 
All with one deep voice exclaim, 
Watch and pray. 

4 Hear, above all these, thy Lord, 

Him thou lovest to obey ; 
Hide within thy heart his word, 
Watch and pray. 

5 Watch, as if on that alone 

Hung the issue of the day ; 
Pray that help may be sent down; 
Watch and pray. 

Charlotte Elliott. 

First published in the author's Morn- 
ing and Evening Hymns for a Week, 1839, 
where it is appointed for Wednesday 
morning. It is based on Matthew xxvi. 
41: "Watch and pray, that ye enter not 
into temptation." 


L. M. 

FROM every stormy wind that blows, 
From every swelling tide of woes, 
There is a calm, a sure retreat : 
'Tis found beneath the mercy seat. 

2 There is a place where Jesus sheds 
The oil of gladness on our heads ; 
A place than all besides more sweet : 
It is the blood-bought mercy seat. 

3 There is a scene where spirits blend, 
Where friend holds fellowship with friend : 
Though sundered far, by faith they meet 
Around one common mercy seat. 

4 Ah ! whither could we flee for aid, 
When tempted, desolate, dismayed; 
Or how the hosts of hell defeat, 
Had suffering saints no mercy seat? 

5 There, there on eagle wings we soar, 
And sin and sense molest no more ; 

And heaven comes down our souls to greet, 
While glory crowns the mercy seat. 

Hugh Stowell. 

A Selection of Psalms and Hymns 
Suited to the Services of the Church of 
England, by the Rev. H. Stowell, M.A., 
Manchester, England, 1831, contained this 
hymn and a few others by the same writ- 
er. Changes are found in four lines. 
Verse two, line four: 

It is the blood-stained mercy-seat. 

Verse three, line one: 

There is a spot where spirits blend. 

Verse five, lines two and four: 

And time and sense seem all no more ; 
And glory crowns the mercy-seat. 

The last stanza is omitted: 

6 Oh ! may my hand forget her skill, 
My tongue be silent, stiff, and still ; 
My bounding heart forget to beat, 
If I forget the mercy-seat. 

The author's son wrote: "My father's 
last utterances abundantly showed his 
love of and delight in prayer. Almost ev- 
ery word was prayer, couched for the most 
part in the language of holy Scripture or 
the Book of Common Prayer, and these 
prayers were characterized by the deep- 
est humility and most entire self-distrust." 


L. M. 


HAT various hindrances we meet 
In coming to a mercy seat ! 
Yet who that knows the worth of prayer, 
But wishes to be often there? 

2 Prayer makes the darkened cloud with- 
draw ; 
Prayer climbs the ladder Jacob saw ; 
Gives exercise to faith and love ; 
Brings every blessing from above. 



3 lit straining prayer, wo cease to fight; 
Prayer keeps the Christian's armor bright; 
And Satan trembles wrhen he 

The weakest saint upon his kne< s. 

4 Were half the breath that's vainly spent, 
To heaven in supplication sent, 

Our cheerful song would oftener be, 
"Hear what the Lord has done for me." 
William Cowper. 

"Exhortation to Prayer" is the title to 
this in the Olney Hymns. 1779. The fourth 
and fifth stanzas of the original are omit- 

4 While Moses stood with arms spread wide, 
Success was found on Israel's side ; 

But when through weariness they failed, 
That moment Amalek prevailed. 

5 Have you no words? Ah! think again: 
Words flow apace when you complain, 
And fill your fellow-creature's ear 
With the sad tale of all your care. 

Cowper was noted for his power in pub- 
lic prayer. Said one w r ho knew him well: 
"Of all the men I ever heard pray, no one 
equaled Mr. Cowper." One who knew the 
sweetness of closet prayer, as he did, and 
who was always in his place at the week- 
night cottage prayer meetings of his pas- 
tor, as he was, might be expected to have 
power in public prayer. 


C. M. 

PRAYER is the soul's sincere desire, 
Uttered or unexpressed ; 
The motion of a hidden fire 
That trembles in the breast. 

2 Prayer is the burden of a sigh, 

The falling of a tear, 
The upward glancing of an eye, 
When none but God is near. 

3 Prayer is the simplest form of speech 

That infant lips can try ; 
Prayer the sublimest strains that reach 
The Majesty on high. 

4 Prayer is the contrite sinner's voice, 

Returning from his ways ; 
While angels in their songs rejoice 
And cry, "Behold, he prays!" 

5 Prayer Is the Christian's vital breath, 

The Christian's native air, 
His watchword at the gates of death ; 
He enters heaven with prayer. 

6 O Thou, by whom we come to God, 

The Life, the Truth, the Way ; 
The path of prayer thyself hath trod : 
Lord, teach us how to pray ! 

James Montgomery. 

This fine didactic hymn was written in 
1818, at the request of the Rev. E. Bicker- 
steth, for his Treatise on Prayer^ Two 

stanzas, the sixth and seventh, have been 

6 In prayer, on earth the saints are one, 

In word, in deed! and mind ; 
While with the Father and the Son 
Sweet fellowship they find. 

7 Nor prayer is made by man alone, 

The Holy Spirit pleads, 
And Jesus, on the eternal throne 
For sinners intercedes. 

This is Montgomery's masterpiece. He 
said himself: "The most attractive hymn 
I ever wrote is that on prayer." The first 
part is an elaborate description of the na- 
ture of prayer in its various forms. The 
last stanza is itself a magnificent prayer 
which illustrates the whole poem. 

The authorship of valuable poems is fre- 
quently claimed by unprincipled or irre- 
sponsible parties. Some years ago a wom- 
an claimed this poem on prayer, not know- 
ing its date. It was published in England 
before she was born. 

498 C. M. 

I LOVE to steal awhile away 
From every cumbering care, 
And spend the hours of setting day 
In humble, grateful prayer. 

2 I love in solitude to shed 

The penitential tear, 
And all his promises to plead 
Where none but God can hear. 

3 I love to think on mercies past, 

And future good implore, 
And all my cares and sorrows cast 
On him whom I adore. 



4 I love by faith to take a view 

Of brighter scenes in heaven ; 
The prospect doth my strength renew, 
While here by tempests driven. 

5 Thus, when life's toilsome day is o'er, 

May its departing ray 
Be calm as this impressive hour, 
And lead to endless day. 

Phoebe H. Brown. 

Few hymns have a more interesting and 
pathetic history than this "Twilight 
Hymn." It was not originally written as 
a hymn. The authoress, beset by the lim- 
itations of poverty, and having no place or 
opportunity for retirement in her humble 
little house, crowded as it was with little 
children, was accustomed at the twilight 
hour to retire to a grove near by for reli- 
gious meditation and prayer. A wealthy 
lady neighbor, near whose garden this 
wooded place of retirement was located, 
and who totally misinterpreted the object 
of these visits, meeting Mrs. Brown, ac- 
cused her of having some evil intent in 
thus daily prowling about her premises at 
the twilight hour. Stinging under the ac- 
cusation, Mrs. Brown went home and 
wrote the following: 

An Apology for My Twilight Rambles, 

Addressed to a Lady. 

(Ellington, August, 1818.) 

Yes, when the toilsome day is gone, 

And night with banners gray, 
Steals silently the glade along 
In twilight's soft array, 

I love to steal awhile away 

From little ones and care, 
And spend the hours of setting day 

In gratitude and prayer. 

I love to feast on Nature's scenes 
When falls the evening dew, 

And dwell upon her silent themes, 
Forever rich and new. 

I love in solitude to shed 

The penitential tear, 
And all God's promises to plead 

Where none can see or hear. 

I love to think on mercies past, 

And future ones implore, 
And all my cares and sorrows cast 

On him whom I adore. 

I love to meditate on death ! 

When shall his message come, 
With friendly smiles to steal my breath, 

And take an exile home? 

I love by faith to take a view 
Of blissful scenes in Heaven : 

The sight doth all my strength renew, 
While here by storms I'm driven. 

I love this silent twilight hour 

Far better than the rest ; 
It is, of all the twenty-four, 

The happiest and the best. 

Thus, when life's toilsome day is o'er, 

May its departing ray 
Be calm as this impressive hour, 

And lead to endless day. 

The following is Mrs. Brown's own ac- 
count of the origin of this beautiful and 
popular hymn: 

It was in Ellington that I wrote the "Twi- 
light Hymn." My baby daughter was in my 
arms when I wrote it. I had been out on a 
visit to Dr. Hyde's, and several were present. 
After tea one of my neighbors, who I had 
ever felt was my superior in every way, came 
and sat down near me, chatting with anoth- 
er lady without noticing me. Just as I was 
rising to go home, she turned suddenly upon 
me and said : "Mrs. Brown, why do you come 
up at evening so near our house and then go 
back without coming in? If you want any- 
thing, why don't you come in and ask for it? 
I could not think who it was, and sent my 
girl down to the garden to see ; and she said it 
was you — that you came to the fence, but, 
seeing her, turned quickly away, muttering 
something to yourself." There was some- 
thing in her manner, more than her words, 
that grieved me. I went home, and that 
evening was left alone. After my children 
were all in bed except my baby, I sat down 
in the kitchen with my child in my arms, 
when the grief of my heart burst forth in a 
flood of tears. I took pen and paper and 
gave vent to my oppressed heart in what I 
called "My Apology for My Twilight Ram- 
bles, Addressed to a Lady." It will be found 
in its original form in an old manuscript 
among my papers. In preparing it (some 
years after) for Nettleton's Village Hymns 
(1824), some three or four verses were sup- 
pressed and a few expressions altered. In 
the original the first stanza was : 

"I love to steal awhile away 
From little ones and care." 



This was strictly true I had four little chil- 
dren, a small, unfinished house, a sick Bister 
In the only finished room, and there was not 
a place, above or below, where I could re- 
tire for devotion without a liability to be in- 
terrupted. There was no retired room, rock, 
or grove where I could go as in former days, 
but there was no dwelling between our house 
and the one where that lady lived. Her gar- 
den extended down a good way below her 
house, which stood on a beautiful eminence. 
The garden was highly cultivated, with fruits 
and flowers. I loved to smell the fragrance 
of both (though I could not see them), when I 
could do so without neglecting duty ; and I 
used to steal away from all within doors, 
and, going out of our gate, stroll along un- 
der the elms that were planted for shade on 
each side of the road. And as there was sel- 
dom any one passing that way after dark, I 
felt quite retired and alone with God. I of- 
ten walked quite up that beautiful garden, 
and snuffed the fragrance of the peach, the 
grape, and the ripening apple, if not the 
flowers. I never saw any one in the garden, 
and felt that I could have the privilege of 
that walk and those few moments of uninter- 
rupted communion with God without en- 
croaching upon any one; but after once know- 
ing that my steps were watched and made 
the subject of remark and censure. I never 
could enjoy it as I had done. I have often 
thought Satan had tried his best to prevent 
me from prayer by depriving me of a place 
to pray. 

For this hymn her son wrote the tune 
called "Monson," and William B. Brad- 
bury the tune called "Brown." One of 
these "little ones" became Rev. S. R. 
Brown, D.D., the first Christian mission- 
ary from America to Japan. Two of Mrs. 
Brown's grandchildren are now mission- 
aries in Japan. 

499 c m. 

TALK with us, Lord, thyself reveal, 
While here o'er earth we rove ; 
Speak to our hearts, and let us feel 
The kindling of thy love. 

2 With thee conversing, we forget 

All time, and toil, and care ; 
Labor is rest, and pain is sweet, 
If thou, my God, art here. 

3 Here, then, my God, vouchsafe to stay, 

And bid my heart rejoice ; 
My bounding heart shall own thy sway, 
And echo to thy voice. 

4 Thou callest me to seek thy fact — 

'Tie all I wish to seek : 
To attend the whispers of thy grace, 
And hear thee inly speak. 

5 Let this my every hour employ, 

Till I thy glory see ; 
Enter into my Blaster's joy, 
And find my heaven in thee. 

Charles Wesley. 

A recent writer quaintly and truly 
says: "He that talks with God will hear 
something worth while." 

Author's title: "On a Journey." The 
first stanza of the original has been 

1 Saviour, who ready art to hear, 
(Readier than I to pray,) 
Answer my scarcely uttered prayer, 
And meet me on the way. 

Verses one and two were written in the 
singular number: "Talk with me." etc. 

In the second stanza the author, per- 
haps unconsciously, quoted Milton: 

"With thee conversing, I forget all time," 
is what Eve says to Adam in Paradise 
Lost, Book iv., line 639. 

Prom Hymns and Sacred Poems. 1740. 

500 7s. D. 

SAVIOUR, when, in dust, to thee 
Low we bend the adoring knee ; 
When, repentant, to the skies 
Scarce we lift our weeping eyes ; 
O by all thy pains and woe 
Suffered once for man below, 
Bending from thy throne on high, 
Hear our solemn litany ! 

2 By thy helpless infant years ; 
By thy life of want and tears ; 
By thy days of sore distress, 
In the savage wilderness ; 

By the dread mysterious hour 
Of the insulting tempter's power; 
Turn. O turn a favoring eye, 
Hear our solemn litany ! 

3 By the sacred griefs that wept 
O'er the grave where Lazarus slept; 
By the boding tears that flowed 
Over Salem's loved abode ; 

By the anguished sigh that told 
Treachery lurked within thy fold ; 
From thy seat above the sky, 
Hear our solemn litany ! 



4 By thine hour of dire despair ; 
By thine agony of prayer ; 

By the cross, the nail, the thorn, 
Piercing spear, and torturing scorn ; 
By the gloom that veiled the skies 
O'er the dreadful sacrifice ; 
Listen to our humble cry, 
Hear our solemn litany ! 

5 By thy deep, expiring groan ; 
By the sad sepulchral stone ; 
By the vault whose dark abode 
Held in vain the rising God ; 

O from earth to heaven restored, 
Mighty, reascended Lord, 
Listen, listen to the cry 
Of our solemn litany ! 

Robert Grant. 

This was first published in the Chris- 
tian Observer, 1815, where it hears the title 
"Litany." It also appears among the au- 
thor's Sacred Poems, 1839, which were col- 
lected and published by his brother, Lord 
Glenelg, the year after his death, 1838. 
This hymn appears in an abridged and al- 
tered form in No. 280. 

501 8, 8, 8, 4. 


Y God, is any hour so sweet, 

From blush of morn to evening star, 
As that which calls me to thy feet, 
The hour of prayer? 

2 Blest is that tranquil hour of morn, 

And blest that solemn hour of eve, 
When, on the wings of prayer upborne, 
The world I leave. 

3 Then is my strength by thee renewed ; 

Then are my sins by thee forgiven ; 
Then dost thou cheer my solitude 
With hopes of heaven. 

4 No words can tell what sweet relief 

Here for my every want I find ; 
What strength for warfare, balm for grief, 
What peace of mind. 

5 Hushed is each doubt, gone every fear ; 

My spirit seems in heaven to stay ; 
And e'en the penitential tear 
Is wiped away. 

6 Lord, till I reach that blissful shore, 

No privilege so dear shall be, 
As thus my inmost soul to pour 
In prayer to thee. 

Charlotte Elliott. 

Author's title: "The Hour of Prayer." 
One verse, the third, has been omitted: 

3 For then a Day-spring shines on me, 
Brighter than morn's ethereal glow ; 
And richer dews descend from Thee 
Than earth can know. 

From Hours of Sorroiv Cheered and 
Comforted, by Charlotte Elliott, 1836. 

The author of "Just as I Am" here 
speaks of her appreciation of secret 
prayer. It would seem from the second 
stanza that this writer had two hours of 
prayer every day, a "tranquil" hour in the 
morning and a "solemn" hour in the even- 
ing when she found strength, hope, and 
comfort in prayer. It is safe and wise 
for all Christians to have a place and reg- 
ular times to indulge in and to cultivate 
communion with God. 

502 L- M. 

PRAYER is appointed to convey 
The blessings God designs to give : 
Long as they live should Christians pray ; 
They learn to pray when first they live. 

2 If pain afflict, or wrongs oppress ; 

If cares distract, or fears dismay ; 
If guilt deject ; if sin distress ; 

In every case, still watch and pray. 

3 'Tis prayer supports the soul that's weak ; 

Though thought be broken, language 
Pray, if thou canst or canst not speak ; 
But pray with faith in Jesus' name. 

4 Depend on him ; thou canst not fail ; 

Make all thy wants and wishes known ; 
Fear not ; his merits must prevail : 
Ask but in faith, it shall be done. 

Joseph Hart. 

"Pray without Ceasing" is the author's 
title to this in the Appendix to Hart's 
Hymns on Various Subjects, 1762. It is 
based upon 1 Thessalonians v. 17: "Pray 
without ceasing." The author wrote in 
verse one, line one, "was" instead of "is;" 
line four, "For only while they pray" in- 
stead of "They learn to pray when first;" 
in verse two, line four, "The remedy's be- 
fore thee," instead of "In every case, still 



watch and;" in verse four, line four, "Ask 
what thou wilt," instead of "Ask but in 
faith." Two stanzas are omitted: 

2 The Christian's heart his prayer indites : 

He speaks as prompted from within, 
The Spirit his petition writes: 

And Christ receives and gives it in. 

3 And wilt thou in dead silence lie, 

When Christ stands waiting for thy 
My soul, thou hast a Friend on high, 
Arise, and try thy interest there. 

Prayer has its paradoxes no less than 
other experiences of the religious life. He 
does most in prayer who realizes most 
perfectly his utter powerlessness to do 
anything of himself. Among the author's 
hymns is to be found the following cu- 
rious and interesting poem titled "The 

How strange is the course that a Christian 
must steer ! 

How perplexed is the path he must tread ! 
The hope of his happiness rises from fear, 

And his life he receives from the dead. 

His fairest pretensions must wholly be 

And his best resolutions be crossed ; 
Nor can he expect to be perfectly saved, 

Till he finds himself utterly lost. 

When all this is done, and his heart is as- 
Of the total remission of sins, 
When his pardon is signed, and his peace is 
From that moment his conflict begins. 


L. M. 

LORD of our life, God whom we fear, 
Unknown, yet known ; unseen, yet near 
Breath of our breath, in thee we live ; 
Life of our life, our praise receive. 

2 Thine eye detects the sparrow's fall ; 
Thy heart of love expands for all ; 
Our throbbing life is full of thee, 
Throned in thy vast infinity. 

3 Shine in our darkness, Light of Light, 
Our minds illume, disperse our night ; 
Make us responsive to thy will, 

Our souls with all thy fullness fill. 

4 We love thy name, we heed thy rod, 
Thy word, our law; O gracious God! 
We wait thy will; on thee we call; 
Our light, our life, our love, our all. 

Samuel F. Smith. 

Title: "God icith Us." A genuine hymn. 
It is prayerful and scriptural. It illus- 
trates the very important thought that 
"in him we live, and move, and have 
our being;" and, in the last stanza, that 
loving obedience, doing the will of God 
from the heart, is the highest type of 

This hymn was contributed by Dr. 
Smith to Historic Hymnists, A Portrait 
Gallery of Great Hymn Writers, Novem- 
ber 24, 1891, and was first published in 
that book. Boston, 1892. 


C. M. 

SINCE without Thee we do no good, 
And with thee do no ill, 
Abide with us in weal and woe, 
In action and in will ; 

2 In weal that while our lips confess 

The Lord who gives, we may 
Remember with an humble thought 
The Lord who takes away; 

3 In woe, that while the drowning tears 

Our hearts their joys resign, 
We may remember who can turn 
Such water into wine ; 

4 By hours of day, that when our feet 

O'er hill and valley run, 
We still may think the light of truth 
More welcome than the sun ; 

5 By hours of night, that when the air 

Its dew and shadow yields, 
We still may hear the voice of God 
In silence of the fields. 

6 Abide with us, abide with us, 

While flesh and soul agree ; 
And when our flesh is only dust, 
Abide our souls with thee. 

Elizabeth B. Browuing. 

This is taken from the Poetical Works 
of Mrs. Elizabeth Barrett Browning, 
where it bears the title "Hymn." It is 
prefaced by two passages from the 
Psalms: "Lord, I cry unto thee: make 



haste unto me" (Ps. cxli. 1); 'The Lord 
is nigh unto all them that call upon him" 
(Ps. cxlv. 18). The sixth stanza, omitted 
above, is: 

Oh ! then sleep comes on us like death, 
All soundless, deaf and deep : 

Lord, teach us so to watch and pray, 
That death may come like sleep. 

10, 4, 10, 4, 10, 10. 


LIGHT of the world ! whose kind and gentle 

Is joy and rest ; 
Whose counsels and commands so gracious 

Wisest and best — 
Shine on my path, dear Lord, and guard the 

Lest my poor heart, forgetting, go astray. 

2 Lord of my life ! my soul's most pure de- 


Its hope and peace ; 
Let not the faith thy loving words inspire 

Falter, or cease ; 
But be to me, true Friend, my chief delight, 
And safely guide, that every step be right. 

3 My blessed Lord ! what bliss to feel thee 


Faithful and true ; 
To trust in thee, without one doubt or fear, 

Thy will to do; 
And all the while to know that thou, our 

Art blessing us, and wilt bless to the end. 

4 And then, O then ! when sorrow's night is 


Life's daylight come, 
And we are safe within heaven's golden 

At home ! at home ! 
How full of glad rejoicing will we raise, 
Saviour, to thee our everlasting praise. 

Henry Bateman. 

Title: "Jesus the Guide." It is found 
in Dale's English Hymn Book. 1874. This 
is called the author's best hymn. "It is a 
prayer of more than usual merit for Di- 
vine guidance," says the Dictionary of 

506 6s, 4s. 

I NEED thee every hour, 
Most gracious Lord ; 
No tender voice like thine 
Can peace afford. 

I need thee, O I need thee ; 

Every hour I need thee ; 
O bless me now, my Saviour, 

I come to thee ! 

2 I need thee every hour ; 

Stay thou near by ; 
Temptations lose their power 
When thou art nigh. 

3 I need thee every hour, 

In joy or pain ; 
Come quickly and abide, 
Or life is vain. 

4 I need thee every hour ; 

Teach me thy will ; 
And thy rich promises 
In me fulfill. 

5 I need thee every hour, 

Most Holy One ; 
O make me thine indeed, 
Thou blessed Son ! 

Annie S. Haicks. 

This hymn was written in 1872, the tune 
being composed for it by Dr. Robert Low- 
ry. It first appeared in a small collection 
of songs prepared by Dr. Lowry and Mr. 
W. H. Doane for the Xational Baptist 
Sunday School Association, which met at 
Cincinnati, Ohio, Xovember, 1872. It is 
one of the most popular of modern songs, 
being adapted alike to social meetings, re- 
vival services, and the Sunday school. It 
is a simple but sincere expression in song 
of the Christian believer's ever-present 
sense of need of divine help and guidance. 

507 7s. 

COME, my soul, thy suit prepare, 
Jesus loves to answer prayer ; 
He himself has bid thee pray, 
Therefore will not say thee nay. 

2 Thou art coming to a King ; 
Large petitions with thee bring ; 
For his grace and power are such, 
None can ever ask too much. 

3 Lord, I come to thee for rest ; 
Take possession of my breast ; 

There thy blood-bought right maintain, 
And without a rival reign. 

4 While I am a pilgrim here, 
Let thy love my spirit cheer ; 

As my guide, my guard, my friend, 
Lead me to my journey's end. 



5 Show me what I have to do; 

ry bour my strength renew; 
In t me live a life of faith, 

Let me die thy people 's d< ath. 

John Neicton. 

This familiar and valuable prayer song 
was written upon 1 Kings iii. 5, the words 
of God to Solomon: "Ask what I shall 
give thee." It is from the Olney Hymns. 
1 771'. Two stanzas, the third and fifth, 
have been omitted: 

3 With my burden I begin, 

Lord, remove this load of sin ! 
Let thy blood, for sinners spilt, 
Set my conscience free from guilt. 

5 As the image in the glass 
Answers the beholder's face; 
Thus unto my heart appear, 
Print thine own resemblance there. 


Ss, 7s. 

TAKE the name of Jesus with you, 
Child of sorrow and of woe ; 
It will joy and comfort give you ; 
Take it, then, where'er you go. 


Precious name, O how sweet ! 

Hope of earth and joy of heaven ; 
Precious name, O how sweet ! 

Hope of earth and joy of heaven, 

2 Take the name of Jesus ever, 

As a shield from every snare ; 
If temptations round you gather, 
Breathe that holy name in prayer. 

3 O the precious name of Jesus ! 

How it thrills our souls with joy, 
When his loving arms receive us, 
And his songs our tongues employ ! 

4 At the name of Jesus bowing, 

Falling prostrate at his" feet, 
King of kings in heaven we'll crown him, 
When our journey is complete. 

Lydia Baxter. 

This beautiful and popular hymn on 
"The Xame of Jesus" was written in 1870 
for a collection of hymns prepared and 
published in 1871 by W. H. Doane, the 
composer, whose tune is inseparably asso- 
ciated with it and has done much to give 
it the widespread popularity which it en- 

The author of this hymn was an invalid 
confined to her room for many years, dur- 
ing which she exhibited not only a sweet 
spirit of resignation but a Christian 
cheerfulness and joy not often seen even 
among those who are never called on to 
suffer. The secret of this constant cheer- 
fulness and sunshine of spirit is revealed 
in the sentiment contained in the above 
hymn. It is a secret as good for the sing- 
er as for the author of the hymn. 


P. M. 

WHEN the weary, seeking rest, 
To thy goodness flee ; 
When the heavy-laden cast 

All their load on thee ; 
When the troubled, seeking peace, 

On thy name shall call ; 
When the sinner, seeking life, 
At thy feet shall fall: 
Hear then in love, O Lord, the cry 
In heaven, thy dwelling place on high. 

2 When the worldling, sick at heart, 

Lifts his soul above ; 
When the prodigal looks back 

To his Father's love ; 
When the proud man, in his pride, 

Stoops to seek thy face ; 
When the burdened brings his guilt 
To thy throne of grace : 
Hear then in love, O Lord, the cry 
In heaven, thy dwelling place on high. 

3 When the stranger asks a home, 

All his toils to end ; 
When the hungry craveth food, 

And the poor a friend ; 
When the sailor on the wave 

Bows the fervent knee ; 
When the soldier on the field 
Lifts his heart to thee : 
Hear then in love, O Lord, the cry 
In heaven, thy dwelling place on high. 

■4 When the man of toil and care 
In the city crowd ; 
When the shepherd on the moor 

Names the name of God : 
When the learned and the high, 

Tired of earthly fame, 
Upon higher joys intent, 
Xame the blessed name : 
Hear then in love, O Lord, the cry 
In heaven, thy dwelling place on high. 



5 When the child, with grave fresh lip, 
Youth or maiden fair ; 
When the aged, weak and gray, 

Seek thy face in prayer ; 
When the widow weeps to thee, 

Sad and lone and low ; 
When the orphan brings to thee 
All his orphan-woe ; 
Hear then in love, O Lord, the cry 
In heaven, thy dwelling place on high. 
Horatius Bonar. 

'■'Intercession for All Conditions of 
Men." From Dr. Bonar's Hymns of Faith 
and Hope. Third Series, 1867. 

It is evidently modeled after the prayer 
of Solomon at the dedication of the tem- 
ple, 1 Kings viii. 23-53, a prayer that all 
who pray in public would do well to study. 

The last stanza is omitted; even now it 
is too long for singing. 

The author's son, Rev. H. N. Bonar, 
gives the history of this hymn as follows : 

My father was asked to provide words to 
the music, and was specially requested to fur- 
nish a fitting refrain to the two lovely lines 
of Mendelssohn's with which Callcott's tune, 
"Intercession," ends. In searching for a 
Scripture theme containing some reiterated 
phrase almost of the nature of a refrain, he 
was struck with Solomon's prayer at the ded- 
ication of the temple (2 Chron. vi.), in which 
every separate petition concludes with sub- 
stantially the same words. 

This idea was taken for his starting point, 
and Solomon's words, "Hear thou from heav- 
en thy dwelling place and forgive," became 
the familiar couplet : 

"Hear then in love, O Lord, the cry 
In heaven, thy dwelling place on high." 

This foundation once provided, the rest of the 
hymn was built upon it. 

Dr. Bonar said that he liked this hymn 
as well as any he had ever written. 


4s. D. 

LORD, for to-morrow and its needs 
I do not pray ; 
Keep me, my God, from stain of sin 

Just for to-day. 
Help me to labor earnestly, 

And duly pray ; 
Let me be kind in word and deed, 
Father, to-day. 

2 Let me no wrong or idle word 

Unthinking say ; 
Set thou a seal upon my lips 

Through all to-day. 
Let me in season, Lord, be grave, 

In season gay ; 
Let me be faithful to thy grace, 

Dear Lord, to-day. 

3 And if, to-day, this life of mine 

Should ebb away, 
Give me thy sacrament divine, 

Father, to-day. 
So for to-morrow and its needs 

I do not pray ; 
Still keep me, guide me, love me, Lord, 

Through each to-day. 

S. M. X. 

This hymn, titled "Strength for To- 
Day,'" has been generally (as in the ear- 
lier editions of this Hymnal) attributed 
to Ernest R. Wilberforce; but this is a 
mistake, as will be shown by the follow- 
ing note in Julian's Dictionary : 

The authoress, who desires to remain 
anonymous, informs me that this poem was 
written in 1877, and was first printed in the 
English Messenger of the Sacred Heart for 
January, 1880, and signed "S. M. X." It has 
been widely used, but generally altered and 
abridged. The full and correct form is in 
her In Hymnis et Canticis, Verses Sacred 
and Profane, by a Sister of Notre Da Die 
(S. M. X.), 1903. These verses were mostly 
written at Liverpool for the students of the 
Liverpool Training College. 

511 L. M. 61. 

C'OME, O thou Traveler unknown, 
' Whom still I hold, but cannot see ; 
My company before is gone, 

And I am left alone with thee : 
With thee all night I mean to stay, 
And wrestle till the break of day. 

2 I need not tell thee who I am, 

My sin and misery declare ; 
Thyself hast called me by my name, 

Look on thy hands, and read it there : 
But who, I ask thee, who art thou? 
Tell me thy name, and tell me now. 

3 In vain thou strugglest to get free, 

I never will unloose my hold : 
Art thou the Man that died for me? 

The secret of thy love unfold : 
Wrestling, I will not let thee go, 
Till I thy name, thy nature know. 



4 Wilt thou not yet to me reveal 

Thy new, unutterable name? 
Tell me, I still beseech thee, tell; 

To know it now resolved I am: 
Wrestling, I will not let thee go, 
Till I thy name, thy nature know. 

5 Field to me now, for I am weak, 

But confident in self-despair ; 

ik to my heart, in blessing spoak. 
Be conquered by my instant prayer: 
Speak, or thou never hence shalt move, 
And tell me if thy name be Love. 

6 'Tis Love ! 'tis Love ! thou diedst for me ! 

I hear thy whisper in my heart ; 
. The morning breaks, the shadows flee ; 

Pure, universal love thou art : 
To me, to all, thy mercies move ; 
Thy nature and thy name is Love. 

7 I know thee, Saviour, who thou art, 

Jesus, the feeble sinner's Friend ; 
Nor wilt thou with the night depart, 

But stay and love me to the end : 
Thy mercies never shall remove ; 
Thy nature and thy name is Love. 

Charles Wesley. 

Title: "Wrestling Jacob." 

Wesley's hymn contains fourteen stan- 
zas. These are the first four, the eighth, 
ninth, and eleventh. We print here the 
rest of the hymn that the reader may see 
the whole of one of the grandest sacred 
lyrics in the English language: 

5 'Tis all in vain to hold Thy tongue, 

Or touch the hollow of my thigh : 
Though every sinew be unstrung, 

Out of my arms Thou shalt not fly ; 
Wrestling, I will not let Thee go, 
Till I Thy name, Thy nature know. 

6 What though my shrinking flesh complain, 

And murmur to contend so long? 
I rise superior to my pain ; 

When I am weak then I am strong: 
And when my all of strength shall fail, 
I shall with the God-man prevail. 

7 My strength is gone, my nature dies : 

I sink beneath Thy weighty hand ; 
Faint to revive, and fall to rise : 

I fall, and yet by faith I stand. 
I stand, and will not let Thee go, 
Till I Thy name, Thy nature know. 

1 My prayer hath power with God ; the grace 
Unspeakable I now receive. 

Through faith I see Thee face t-» face ; 

se to face, and live : 
In vain I have not wept and strove ; 
Thy nature and Thy name is Love. 

12 The Sun of righteousness on me 

Hath risen with healing in his wings: 
Withered my nature's strength, from thee 

My soul its life and succor brings: 
My help is all laid up ab 
Thy nature and Thy name is Love. 

13 Contented now, upon my thigh 

I halt, till life's short journey end; 
All helplessness, all weakness. 1 

On thee alone for strength depend, 
Nor have I power from thee to n. 
Thy nature and Thy name is Love. 

14 Lame as I am, I take the prey ; 

Hell, earth, and sin, with ease o'ercome ; 
I leap for joy, pursue my way, 

And as a bounding hart fly home, 
Through all eternity to prove 
Thy nature and Thy name is Love. 

This is doubtless the most celebrated 
lyric poem that Charles Wesley ever 
wrote, It is founded upon Genesis xxxii. 

And Jacob was left alone ; and there wres- 
tled a man with him until the breaking of 
the day. And when he saw that he prevailed 
not against him, he touched the hollow of his 
thigh : and the hollow of Jacob's thigh was 
out of joint, as he wrestled with him. And 
he said, Let me go, for the day breaketh. And 
he said, I will not let thee go, except thou 
bless me. 

Light is thrown upon the character of 
Jacob's wrestling with the angel by a pas- 
sage in Hosea xii. 4: "He wept, and made 
supplication unto him." 

The climax of the hymn is reached in 
the sixth verse (ninth of the original), a 
stanza that is sublime indeed and some- 
thing more. 

Charles Wesley's brief obituary (Min- 
utes of the Methodist Conferences. 1788), 
probably written by his brother John, 
closes as follows: "His least praise was 
his talent for poetry, although Dr. Watts 
did not scruple to say that 'that single 
poem. "Wrestling Jacob," was worth all 
the verses he himself had written.' " 



Dr. Watts, however, must be understood 
"poetically." He simply meant that he 
greatly admired the production. 

From Hymns and Sacred Poems, 1742. 

512 s. M. 

TO God your every want 
In instant prayer display : 
Pray always ; pray, and never faint ; 
Pray, without ceasing, pray. 

2 His mercy now implore ; 

And now show forth his praise ; 
In shouts, or silent awe, adore 
His miracles of grace. 

3 Pour out your souls to God, 

And bow them with your knees ; 
And spread your hearts and hands abroad, 
And pray for Zion's peace. 

4 Your guides and brethren bear 

Forever on your mind ; 
Extend the arms of mighty prayer 
In grasping all mankind. 

Charles Wesley. 

This is from a poem of sixteen double 
stanzas found in the author's Hymns and 
Sacred Poems, 1749, under the Scripture 
title: "The Whole Armour of God." 
(Ephesians vi. 13.) The first two stan- 
zas of this poem are found in the hymn 
beginning, "Soldiers of Christ, arise." 
The above are the second half of the 
twelfth, the second half of the fourteenth, 
and the fifteenth stanza entire. 

513 8s, 7s. D. 

COURAGE, brother ! do not stumble, 
Though thy path be dark as night ; 
There's a star to guide the humble, 

Trust in God, and do the right. 
Though the road be long and dreary, 

And the end be out of sight, 
Tread it bravely, strong or weary, 
Trust in God, and do the right. 

2 Perish policy and cunning, 

Perish all that fears the light, 
Whether losing, whether winning, 

Trust in God, and do the right. 
Shun all forms of guilty passion, 

Fiends can look like angels bright ; 
Heed no custom, school, or fashion, 

Trust in God, and do the right. 

3 Some will hate thee, some will love thee, 

Some will flatter, some will slight ; 

Cease from man, and look above thee, 
Trust in God, and do the right. 

Simple rule and safest guiding, 
Inward peace and shining light, 

Star upon our path abiding, 
Trust in God, and do the right. 

Norman Macleod. 

Title: "Right Doing." 

It appeared in the Edinburgh Christian 
Magazine in January, 1857. 

A few slight changes have been made 
and four lines omitted: 

Trust no party, church, or faction, 
Trust no leaders in the fight, 

But in every word and action 
Trust in God, and do the right. 

This is neither psalm, hymn, nor spir- 
itual song. It is an earnest and whole- 
some exhortation in verse. 

514, 7s. 

LORD, I cannot let thee go, 
Till a blessing thou bestow : 
Do not turn away thy face, 
Mine's an urgent, pressing case. 

2 Dost thou ask me who I am? 

Ah ! my Lord, thou know'st my name ; 
Yet the question gives a plea 
To support my suit with thee. 

3 Thou didst once a wretch behold, 
In rebellion blindly bold, 

Scorn thy grace, thy power defy : 
That poor rebel, Lord', was I. 

4 Once a sinner, near despair, 
Sought thy mercy seat by prayer; 
Mercy heard, and set him free : 
Lord, that mercy came to me. 

5 Many days have passed since then, 
Many changes I have seen ; 

Yet have been upheld till now ; 
Who could hold me up but thou? 

6 Thou hast helped in every need ; 
This emboldens me to plead : 
After so much mercy past, 
Canst thou let me sink at last? 

7 No ; I must maintain my hold ; 
'Tis thy goodness makes me bold ; 
I can no denial take, 

When I plead for Jesus' sake. 

John Newton. 

Title: "Nay, I Cannot Let Thee Go." 
From the Olney Collection, 1779. It is 
based on Genesis xxxii. 24-27: 


And Jacob was left alone; and there wres- 

a man with him until the breaking of the 
day. . . . And he said, Let me go, for 
the day breaketh. And he said. I will not 
let thee go, except thou bless me. And he 
said unto him, What is thy name? And la- 
said, Jacob. 

The annotation of Dr. C. S. Robinson 
upon this hymn is well worth quoting in 
full, and is as follows: 

This hymn by Rev. John Newton may prof- 
itably be compared with the magnificent 
poem of Charles Wesley known as "Wr< s- 
tling Jacob." Both are founded upon the ex- 
perience of the patriarch at Penuel (.Gen. 
xxxii. 2G). This one in particular pictures 
to us the matchless mercy of God. We can 
talk to him in our own plain, artless, uncon- 
strained way, and he takes pleasure in listen- 
ing to us. Here in the inspired history a 
poor mortal of no higher fame or name than 
a herdsman had power to prevail in a con- 
test for a blessing with the omnipotent God, 
and received a new name as a princely pre- 
vailer with the Highest. There is no hope 
of advantage in any attempt to follow up this 
mere historic incident as a fact. When the 
wrestle ends, that ends its instruction. But 
this was no ordinary part of Jacob's biog- 
raphy. It is evident that it was so truly in- 
tended to be an emblem of wistful and im- 
portunate supplication that the prophet Ho- 
sea was inspired, full a thousand years after- 
wards, to suggest its interpretation. The 
Christian Church has taken it up at once, and 
now the expression, "Wrestling with the an- 
gel of the covenant," is as familiar as any of 
our household words the world over. ''Tea, 
he had power over the angel, and prevailed ; 
he wept, and made supplication unto him ; he 
found him in Bethel, and there he spake with 
us ; even the Lord God of hosts ; the Lord is 
his memorial." (See No. 511.) 



THEY who seek the throne of grace, 
Find that throne in every place ; 
If we live a life of prayer, 
God is present everywhere. 

2 In our sickness or our health, 
In our want or in ou